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POUSSIN, Nicolas
Moise changeant en serpent la verge d'Aaron
mk70
Toile
H.0.92
L.1.28
Paris,Muss du Louvre
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POUSSIN, Nicolas
Le jugement de Salomon
Toile
H.1.01
L.1.50
Paris,Musee du Louvre
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POUSSIN, Nicolas
Les aveugles de jericho
mk70
Toile.
H.1.19
L.1.76
Paris,Musee du Louvre
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POUSSIN, Nicolas
Eliezer dt Rebecca
mk70
Toile
H.1.18
L.1.99
Paris,Musee du Louvre
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POUSSIN, Nicolas
L.Hiver ou Le deluge
mk70
Toile
H.1.18
L.1.60
Paris,Musee du Louvre
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POUSSIN, Nicolas
Triumph of Neptune and Amphitrite
mk86
1634
Oil on canvas
114.5x146.6cm
Philadelphia,Philadelphia Museum of Art
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POUSSIN, Nicolas
Tanecred and Erminia
mk159
c.1631-33
Oil on canvas
98x147cm
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POUSSIN, Nicolas
Echo and Narcissus
1628-30
Oil on canvas,
74 x 100 cm
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POUSSIN, Nicolas
The Assumption of the Virgin
1650
Oil on canvas,
57 x 40 cm
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POUSSIN, Nicolas
The Nurture of Bacchus
1630-35 Oil on canvas, 97 x 136 cm Mus?e du Louvre, Paris This painting is also called The Childhood of Bacchus or The Small Bacchanal.Artist:POUSSIN, Nicolas Title: The Nurture of Bacchus Painted in 1601-1650 , French - - painting : mythological
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POUSSIN, Nicolas
Autumn
1660-64 Oil on canvas, 118 x 160 cm Mus?e du Louvre, Paris This painting is part of a series of four, entitled the Seasons. The pictures are a sequence, and they are hung in this way in the Grande Galerie of the Louvre. Artist:POUSSIN, Nicolas Title: Autumn, 1601-1650, French , painting , landscape
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| POUSSIN, Nicolas
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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,
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