Nicolas Poussin
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.
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Nicolas Poussin Rape of the Sabine Women, Rome, oil painting


Rape of the Sabine Women, Rome,
Rape of the Sabine Women, Rome, 1637-38, oil on canvas, 159 x 206 cm, Louvre
Painting ID::  60079 		Nicolas Poussin
Rape of the Sabine Women, Rome,
Rape of the Sabine Women, Rome, 1637-38, oil on canvas, 159 x 206 cm, Louvre
   
   
     
Nicolas Poussin Poussin Tancred and Erminia oil painting


Poussin Tancred and Erminia
Poussin's Tancred and Erminia (early 1630s, oil on canvas, 98.5 x 146.5 cm, Hermitage Museum) shows an evolution from Poussin's early emulation of Caravaggio to a return to classicism.
Painting ID::  60080 		Nicolas Poussin
Poussin Tancred and Erminia
Poussin's Tancred and Erminia (early 1630s, oil on canvas, 98.5 x 146.5 cm, Hermitage Museum) shows an evolution from Poussin's early emulation of Caravaggio to a return to classicism.
   
   
     
Nicolas Poussin Helios and Phaeton with Saturn and the Four Seasons oil painting


Helios and Phaeton with Saturn and the Four Seasons
Helios and Phaeton with Saturn and the Four Seasons (c. 1635)
Painting ID::  60081 		Nicolas Poussin
Helios and Phaeton with Saturn and the Four Seasons
Helios and Phaeton with Saturn and the Four Seasons (c. 1635)
   
   
     
Nicolas Poussin The Plague at Ashdod, oil painting


The Plague at Ashdod,
The Plague at Ashdod, 1630, oil on canvas, 148 x 198 cm, Louvre Museum
Painting ID::  60082 		Nicolas Poussin
The Plague at Ashdod,
The Plague at Ashdod, 1630, oil on canvas, 148 x 198 cm, Louvre Museum
   
   
     
Nicolas Poussin The Continence of Scipio, oil painting


The Continence of Scipio,
The Continence of Scipio, 1640, oil on canvas, 116 x 150 cm, Pushkin Museum of Fine Arts
Painting ID::  60083 		Nicolas Poussin
The Continence of Scipio,
The Continence of Scipio, 1640, oil on canvas, 116 x 150 cm, Pushkin Museum of Fine Arts
   
   
     
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     Nicolas Poussin
     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.

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