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POUSSIN, Nicolas Lamentation over the Body of Christ af oil painting


Lamentation over the Body of Christ af
Painting ID::  8614
POUSSIN, Nicolas
Lamentation over the Body of Christ af
1628-29 Oil on canvas, 101 x 145 cm Alte Pinakothek, Munich

   
   
     

POUSSIN, Nicolas Midas and Bacchus (detail) ag oil painting


Midas and Bacchus (detail) ag
Painting ID::  8616
POUSSIN, Nicolas
Midas and Bacchus (detail) ag
1629-30 Oil on canvas Alte Pinakothek, Munich

   
   
     

POUSSIN, Nicolas The Plague at Ashdod asg oil painting


The Plague at Ashdod asg
Painting ID::  8617
POUSSIN, Nicolas
The Plague at Ashdod asg
1630 Oil on canvas, 148 x 198 cm Mus??e du Louvre, Paris

   
   
     

POUSSIN, Nicolas Acis and Galatea stg oil painting


Acis and Galatea stg
Painting ID::  8618
POUSSIN, Nicolas
Acis and Galatea stg
c. 1630 Oil on canvas, 97 x 135 cm National Gallery of Ireland, Dublin

   
   
     

POUSSIN, Nicolas The Inspiration of the Poet (detail) af oil painting


The Inspiration of the Poet (detail) af
Painting ID::  8619
POUSSIN, Nicolas
The Inspiration of the Poet (detail) af
c. 1630 Oil on canvas Mus??e du Louvre, Paris

   
   
     

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     POUSSIN, Nicolas
     French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,

     Related Artists::.
     | Master of the Louvre Nativity | Enguerrand Quarton | Gunnar Berg |


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