French 1594-1665 Nicolas Poussin Galleries The finest collection of Poussin's paintings, in addition to his drawings, is located in the Louvre in Paris. Besides the pictures in the National Gallery and at Dulwich, England possesses several of his most considerable works: The Triumph of Pan is at Basildon House, near to Pangbourne, (Berkshire), and his great allegorical painting of the Arts at Knowsley. The later version of Tancred and Erminia is at the Barber Institute in Birmingham. At Rome, in the Colonna and Valentini Palaces, are notable works by him, and one of the private apartments of Prince Doria is decorated by a great series of landscapes in distemper. Throughout his life he stood aloof from the popular movement of his native school. French art in his day was purely decorative, but in Poussin we find a survival of the impulses of the Renaissance coupled with conscious reference to classic work as the standard of excellence. In general we see his paintings at a great disadvantage: for the color, even of the best preserved, has changed in parts, so that the harmony is disturbed; and the noble construction of his designs can be better seen in engravings than in the original. Among the many who have reproduced his works, Audran, Claudine Stella, Picart and Pesne are the most successful.  Related Paintings of Nicolas Poussin :. | Die Hirten von Arkadien | Parnassus | Landscape with a Man Washing His Feet at a Fountain | The Companions of Rinaldo | Landscape with Gathering of the Ashes of Phocion by his Widow |
Related Artists:
Maufra Maxime Emile Louis
Nantes 1861-Ponce-sur-Loir,Sarthe 1918
Jan Spanjaert
Dutch , c. 1590-Before 1664 . Active in Delft and Amsterdam 1632-1665
Konstantin Flavitsky
b Moscow, 25 Sept 1830; d St Petersburg, 15 Sept 1866,Russian painter. He completed his studies at the Academy of Arts in St Petersburg in 1855. The influence of Karl Bryullov was central to Flavitsky work. He combined the theatricality of academicism and the elegance of salon painting with a desire to observe a degree of realism in his subjects and to relate history to present events, thereby anticipating new developments in Russian history painting.