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POUSSIN, Nicolas The Nurture of Bacchus ag oil painting


The Nurture of Bacchus ag
Painting ID::  8626
POUSSIN, Nicolas
The Nurture of Bacchus ag
1630-35 Oil on canvas, 97 x 136 cm Mus??e du Louvre, Paris

   
   
     

POUSSIN, Nicolas The Nurture of Bacchus (detail) af oil painting


The Nurture of Bacchus (detail) af
Painting ID::  8627
POUSSIN, Nicolas
The Nurture of Bacchus (detail) af
1630-35 Oil on canvas Mus??e du Louvre, Paris

   
   
     

POUSSIN, Nicolas Adoration of the Magi sgf oil painting


Adoration of the Magi sgf
Painting ID::  8628
POUSSIN, Nicolas
Adoration of the Magi sgf
1633 Oil on canvas, 160 x 182 cm Gemäldegalerie, Dresden

   
   
     

POUSSIN, Nicolas The Triumph of Neptune sg oil painting


The Triumph of Neptune sg
Painting ID::  8629
POUSSIN, Nicolas
The Triumph of Neptune sg
1634 Oil on canvas, 114,5 x 146,6 cm Philadelphia Museum of Art, Philadelphia

   
   
     

POUSSIN, Nicolas The Triumph of Neptune (detail) af oil painting


The Triumph of Neptune (detail) af
Painting ID::  8630
POUSSIN, Nicolas
The Triumph of Neptune (detail) af
1634 Oil on canvas Philadelphia Museum of Art, Philadelphia

   
   
     

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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::.
     | Otto Muller | christopher r.w.nevinson | VALENTIN DE BOULOGNE |


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