Art 102 Fall 2011 Poussin Lecture. Poussin Plague at Ashdod 1631 Poussin in his early years painted subjects that had never been painted before Modeled.

Art 102 Fall 2011Poussin Lecture

Poussin Plague at Ashdod 1631

Poussin in his early years painted subjects that had never been painted beforeModeled on a painting by Raphael

Raimondi After Raphael Plague of the Phrygians c. 1514-15

Poussin Adoration of the Magi 1632

Poussin was influenced by Titian and Raphael—this painting was directly influenced by Raphael’s style

Poussin Isrealites Gathering the Manna 1638-9

This painting is read left to right, in narrative “stages,” from starvation to nourishmentIt is one of Poussin’s history paintings, opposed to his later landscape paintings in the “grand manner”

Poussin Massacre of the Innocents 1627-8

Another painting in the cerebral, classicizing style of Raphael

Poussin Triumph of Flora 1626-7

Poussin Triumph of Flora 1626-7

This painting was influenced by the Venetian style, specifically Titian, and is looser and moreColoristic than the paintings influenced by RaphaelPainted here directly onto canvas, as is evident from alterations known as pentimenti

Poussin Eliezer and Rebecca 1627

Poussin’s paintings after Raphael are highly structured. This one is arranged like a frieze,Horizontally across the canvas

Poussin Death of Germanicus 1626-8

This painting is one of Poussin’s most famous, and is of a subject that had never been Painted before: the death of a Roman general named GermanicusWill be an influence for NeoClassical painters in the 18th century, particularly David

Poussin Inspiration of the Lyric Poet 1628-9

Poussin Inspiration of the Lyric Poet 1628-9

One of a series of paintings by Poussin on theSubject of poetic inspiration

Informal arrangement, but refined Draughtsmanship, showing Poussin to be Moving away from the Venetian style.

God figure has attributes of both Apollo and Bacchus—poet drinks from the cup of Apollo but the jug of wine signifies Bacchus

Poussin Inspiration of the Epic Poet c. 1630

Poussin Inspiration of the Epic Poet c. 1630

Complement to the “Lyric Poet.” More formal in its composition, like a classical relief, and the poet seems to be divinely inspired as opposed to drinking wine for inspiration.

Poussin Triumph of David c. 1629-30

Poussin Triumph of David c. 1629-30

One of two versions of the same subject. This one is delicate and lyrical, while the otherIs dramatic and classical.David seems introspective and melancholy.

Poussin Triumph of David 1632

This version of David is rigid and classical. Is a direct recounting of the story of David as told In the Bible.

Poussin Triumph of David 1632

Poussin Burial of Phocion 1648

Poussin Burial of Phocion 1648

Poussin is the inventor of the “grand manner,” which consists of grand subject matter: Battles, heroic action, and divine things. This is a story about the Athenian general Phocion, aStory taken from PlutarchThis is a painting that is highly concerned with form: geometry, interlocking planes, treesOpening like curtains on a stage

Poussin The Ashes of Phocion Collected by his Widow 1648

Poussin The Ashes of Phocion Collected by his Widow 1648

Poussin’s landscapes are logically ordered. Formal relationship between trees, rocks, and cloudsLandscapes contain classical elements as a way of elevating the practice of landscape painting

Claude Lorrain Landscape with Cattle and Peasants 1629

Claude is a creator of “ideal landscapes”

Bellini Feast of the Gods 1529

Arcadian landscape, referring to an idyllic place of rural, rustic peace and tranquility

Caracci Flight into Egypt 1503-4

Caracci is creator of the ideal or classical landscape, where nature is ordered according to Reason and logic.Very idealized, and formally, strictly composed