text stringlengths 0 3.13k |
|---|
The finest collection of Poussin's paintings today is at the Louvre in Paris. Other significant collections are in the National Gallery in London; the National Gallery of Scotland; the Dulwich Picture Gallery; the Musée Condé, Chantilly; the Hermitage Museum, Saint Petersburg; and the Museo del Prado, Madrid. |
Gallery |
See also |
List of paintings by Nicolas Poussin |
Category:Paintings by Nicolas Poussin |
Poussinists and Rubenists |
References |
Citations |
Sources |
Blunt, Anthony (1958). Nicholas Poussin. Phaidon. |
Brigstocke, Hugh. "Poussin, Nicolas". Grove Art Online. Oxford Art Online. Oxford University Press. Web. (subscription required) |
Chilvers, Ian (2009). The Oxford Dictionary of Art and Artists. Oxford: Oxford University Press. ISBN 978-0199532940. |
Facos, Michelle (2011). Introduction to Nineteenth-Century Art. New York: Routledge. ISBN 978-1136840715. |
Keazor, Henry (2007). Nicolas Poussin 1594–1665. Hong Kong, Cologne, London et al.: Taschen. ISBN 978-3-8228-5319-1. |
Pace, Claire. "Disegno e colore". Grove Art Online. Oxford Art Online. Oxford University Press. (subscription required) |
Russell, John (4 November 1990). "Art View; Back and Forth Between Poussin and Cezanne". The New York Times. Retrieved 19 December 2015. |
Rosenberg, Pierre; Temperini, Renaud (1994). Poussin – "Je n'ai rien négligé" (in French). Paris: Gallimard. ISBN 2-07-053269-0. |
Sauerländer, Willibald (14 January 2016). "Happy Anniversary, Nicolas Poussin". The New York Review of Books. 63 (1): 46, 48. |
Thompson, James (1992). "Nicolas Poussin". Metropolitan Museum of Art Bulletin. 50 (3). New York: Metropolitan Museum of Art: 1, 3–56. doi:10.2307/3259008. JSTOR 3259008. OCLC 27763575. |
Wilkin, Karen (January 1995). "The 'High Art' of Nicolas Poussin". The New Criterion. Retrieved 15 December 2015. |
Wright, Christopher (1985). Poussin Paintings: A Catalogue Raisonné. New York: Hippocrene. ISBN 0-87052-218-3. |
Further reading |
Barker, Naomi Joy (2000). "'Diverse Passions': Mode, Interval and Affect in Poussin's Painings". Music in Art: International Journal for Music Iconography. 25 (1–2): 5–24. ISSN 1522-7464. |
Blunt, Anthony (1966). The Paintings of Nicolas Poussin: A Critical Catalogue. London: Phaidon. OCLC 349831 |
Blunt, Anthony (1967), Nicolas Poussin, Pallas Athene, ISBN 1-873429-64-9 |
Chisholm, Hugh, ed. (1911). "Poussin, Nicolas". Encyclopædia Britannica (11th ed.). Cambridge University Press. |
Cropper, Elizabeth and Charles Dempsey (1995). Nicolas Poussin: Friendship and the Love of Painting. Princeton: Princeton University Press, 1995. ISBN 978-0-691-05067-6 |
Friedländer, Walter (1964). Nicolas Poussin: A New Approach. New York: Abrams. 1964. OCLC 2922468 |
Keazor, Henry (1998). Poussins Parerga. Quellen, Entwicklung und Bedeutung der Kleinkompositionen in den Gemälden Nicolas Poussins. Schnell & Steiner, Regensburg. ISBN 3-7954-1146-7 |
Kimmelman, Michael, "When Poussin Drew for Himself", The New York Times, 23 February 1996. Retrieved 16 February 2013. |
Tina Mansueto, Nicolas Poussin, Il Rinascimento arcadico del XVII secolo, Paolo Loffredo iniziativeditoriali, Naples, 2016, ISBN 9788899306304. |
Mérot, Alain (1990), Nicolas Poussin, Abbeville Press, ISBN 1-55859-120-6 |
Serres, Michel (1995). Genesis (Grasset). Ann Arbor: The University of Michigan Press. ISBN 978-0-472-08435-7. OCLC 31937184 |
Standring, Timothy. "Poussin's Erotica", Apollo (magazine), 2009-03-01. Retrieved 28 May 2009. |
Thuillier, Jacques (1995). Nicolas Poussin. Paris: Flammarion. ISBN 2-08-012440-4 |
Thuillier, Jacques (1995). Poussin before Rome: 1594–1624, translated from the French by Christopher Allen (1995). London, New York and Chicago: Richard L. Feigen & Co. ISBN 1-873232-03-9 |
Unglaub, Jonathan (2006). Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso. Cambridge and New York: Cambridge University Press, 2006. ISBN 978-0-521-83367-7 |
Exhibitions |
Paris 1960. "Poussin peintre: retrospectif". Galvanized the renewed interest in Poussin. |
Fort Worth 1988. "Poussin: The Early Years in Rome: The Origins of French Classicism". |
Paris 1994. "Nicolas Poussin 1594–1665" Grand Palais. |
New York City 2008. "Poussin and Nature: Arcadian Visions". Metropolitan Museum of Art; Poussin's landscapes. |
London 2021. "Poussin and the Dance". National Gallery of Art |
External links |
Media related to Nicolas Poussin at Wikimedia Commons |
Quotations related to Nicolas Poussin at Wikiquote |
61 artworks by or after Nicolas Poussin at the Art UK site |
A 16min educational film about Nicolas Poussin |
NicolasPoussin.org Archived 9 September 2020 at the Wayback Machine – 92 works by Nicolas Poussin |
Herbermann, Charles, ed. (1913). "Nicolas Poussin" . Catholic Encyclopedia. New York: Robert Appleton Company. |
Julia L. Valiela, "The Baptism of Christ, by Nicolas Poussin (cat. 773)," in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. |
Nicolas Régnier (1591–1667), known in Italy as Niccolò Renieri, was a painter, art dealer and art collector from the County of Hainaut, a French-speaking part of the Spanish Netherlands. He is often referred to as a Flemish artist because this term was often used to designate people from the Spanish Netherlands. After training in Antwerp, he was active in Italy where he was part of the international Caravaggesque movement. His subjects include genre scenes with card players, fortune tellers, soldiers and concerts, religious scenes, saints, mythological and allegorical scenes, and portraits. He also painted a few scenes with carnivals. |
Life |
Régnier was born in Maubeuge. It was previously believed that his birth date was 6 December 1591. A review of his baptismal records has led to the conclusion that he may have been born at least a year earlier. He apprenticed in Antwerp with Abraham Janssens, a Flemish painter who had studied in Rome at the time of Caravaggio and was one of the first Flemish followers of Caravaggio. |
It is unclear when Régnier reached Rome. He travelled to Rome via Parma where he was present in 1616–1617. He is definitely in Rome by 1620 when he is registered sharing lodgings with the Dutch painters David de Haen and Dirk van Baburen, both part of the Northern Caravaggesque movement. He became acquainted in Rome with the work of Bartolomeo Manfredi, an important Italian interpreter of Caravaggio. The German painter and biographer Joachim von Sandrart called Régnier a follower of Manfredi. Régnier became a member of the household of Marchese Vincenzo Giustiniani, a rich banker and prominent patron of Caravaggio. He was Giustiniani's official painter and resided during the period 1622–1623 at Giustiniani's palace on the Piazza San Luigi dei Francesi. His duties included the painting of religious and profane subjects. After marrying Cecilia Bezzi in 1623 he left Giustiniani's household. In Rome Régnier was also in close contact with Simon Vouet, whose interpretation of Caravaggio with its clear light and classical structure would influence him. |
By 1626, Régnier had moved to Venice, maybe after first stopping over in Bologna. He was enrolled in the Venetian Guild in 1626. In Venice, he expanded his activities to dealing in antiquities and paintings. In 1634 he was recorded trying to sell paintings to the Duke of Hamilton through an English agent. It is not clear whether as an art dealer he was also selling any of the forgeries, which his son-in-law Pietro della Vecchia is known to have created. He was a painter to the king of France, as a supplier of paintings purchased by Mazarin. He was often consulted in the period 1661-1667 as an expert to decide on whether artworks were forgeries, especially with respect to drawings. He also befriended the Italian painter Guido Cagnacci. |
Of his four daughters, Lucretia married the Flemish painter Daniel van den Dyck while Clorinda married the prominent Italian painter Pietro della Vecchia (1605-1678). His daughters were also painters in their own right and worked with their husbands on commissions. Regnier's only son, Giovanni Paolo, was baptised on 27 October 1639. Régnier's half-brother was Michele Desubleo, an artist working in a very similar style and whose work is often wrongly attributed to Régnier and vice versa. |
He died in Venice. |
Work |
His subjects include genre scenes with card players, fortune tellers, concerts, soldiers and carnival scenes, portraits, religious scenes, saints and mythological and allegorical subjects. Together with the French painter Valentin de Boulogne, Régnier is regarded as a follower of the Manfrediana Methodus, which refers to those artists who interpreted Caravaggio through the prism of Bartolomeo Manfredi's processing of the lessons of Caravaggio. Some of his works are so close to those of Manfredi that they have been wrongly attributed to Manfredi. |
Régnier's style is characterised by its pursuit of refinement and elegance, in contrast with the Northern Caravaggisti such as Gerard van Honthorst and Dirck van Baburen, whose art dwells on the more earthy aspects of genre scenes. After his move to Venice, his style became even more smooth under the influence of the Bolognese painters, such as Guido Reni. |
He painted Saint Sebastian Tended by Saint Irene three times, as well as a number of nearly-nude single figures of Saint Sebastian and John the Baptist. He painted Mary Magdalene numerous times. |
Selected works |
Allegory of Vanity - Pandora (1626), private collection |
Cardsharps and Fortune Teller (1620-1622), Museum of Fine Arts - Budapest |
Carnival scene (1630), National Museum, Warsaw |
The Death of Sophonisba (1665-1667), Leicester Museum & Art Gallery |
Guessing Game (1620-1625), Galleria Uffizi - Florence |
The Fortune Teller, Nicolas Régnier (1625-1626), Musée du Louvre |
Marquis Vincenzo Giustiniani (1630) |
A Musician Playing a Lute to a Singing Girl (1621-1622), private collection |
The Penitent Magdalen (1650-1660), Birmingham Museum and Art Gallery |
Penitent Mary Magdalene, private collection |
Portrait of Maria Farnese (1638) |
Saint John the Baptist (1615-1620), Hermitage Museum - St. Petersburg |
Saint Sebastian (1620), Hermitage Museum - St. Petersburg |
Saint Sebastian (1622-1625), Gemaldegalerie Alte Meister - Dresden |
Saint Sebastian Tended by Saint Irene, Ferens Art Gallery - Hull |
Self-Portrait with a Portrait on an Easel (1623-1624), Fogg Museum of Art - University of Harvard |
Sleeper Awakened by a Young Woman with Fire, National Museum of Fine Arts - Stockholm |
Vanity (1626), Musée des Beaux-Arts de Lyon |
Allegory of Vanity-Pandora, Staatsgalerie Stuttgart. |
Baptism of Christ, 1627, Church of San Giovanni Battista dei Genovesi, Rome |
David with the head of Goliath, 1616, Palazzo Spada, Galleria Spada, Sala IV, Inventory n° 176, Roma (Attribution has been discussed, some critics considering it may be a Bartolomeo Manfredi work) |
Judith holding the head of Holofernes, Prado Museum, Madrid. |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.