GO HOME
Visit European Gallery



  1  2  3  4  5  6  7  8  9  10   Next
 
 
Prev Artist       Next Artist     

POUSSIN, Nicolas The Victorious David af oil painting


The Victorious David af
Painting ID::  8609
POUSSIN, Nicolas
The Victorious David af
c. 1627 Oil on canvas, 100 x 130 cm Museo del Prado, Madrid

   
   
     

POUSSIN, Nicolas The Death of Germanicus af oil painting


The Death of Germanicus af
Painting ID::  8610
POUSSIN, Nicolas
The Death of Germanicus af
1627 Oil on canvas, 148 x 198 cm Minneapolis Institute of Art, Minneapolis

   
   
     

POUSSIN, Nicolas The Martyrdom of St Erasmus sg oil painting


The Martyrdom of St Erasmus sg
Painting ID::  8611
POUSSIN, Nicolas
The Martyrdom of St Erasmus sg
1628 Oil on canvas, 320 x 186 cm Pinacoteca, Vatican

   
   
     

POUSSIN, Nicolas St Cecilia af oil painting


St Cecilia af
Painting ID::  8612
POUSSIN, Nicolas
St Cecilia af
1627-28 Oil on canvas, 118 x 88 cm Museo del Prado, Madrid

   
   
     

POUSSIN, Nicolas Bacchanal: the Andrians af oil painting


Bacchanal: the Andrians af
Painting ID::  8613
POUSSIN, Nicolas
Bacchanal: the Andrians af
1628-30 Oil on canvas, 121 x 175 cm Mus??e du Louvre, Paris

   
   
     

  1  2  3  4  5  6  7  8  9  10   Next
Prev Artist       Next Artist     

     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::.
     | Stephen Wilson Van Schaick | Jean-Baptiste Lallemand | Adriaan de Lelie |


IntoFineArt Co,.Ltd.