This document contains detailed images and descriptions of paintings by Nicolas Poussin. It showcases 15 of Poussin's major works, including Dance to the Music of Time, The Death of Germanicus, Continence of Scipio, The Rape of the Sabine Women, The Destruction of the Temple at Jerusalem, The Adoration of the Golden Calf, and The Inspiration of the Poet. For each painting, there are multiple close-up detail images and explanatory captions that provide background on the subject matter and historical context.
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
The Palazzo dei Conservatori was the seat of the city’s magistrates during the late Middle Age. Its frescroed halls are still used occasionally for political meetings and the ground floor houses the municipal registry office.. The palazzo was built by Giacomo della Porta who carried out Michelangelo’s design for the pizza del Compidoglio in the mid 16C.
you can download my presentations at
http://www.authorstream.com/Presentation/guimera-4854333-glass-european-paintings/
http://www.authorstream.com/MyUploaded-Presentations/All
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
The Palazzo dei Conservatori was the seat of the city’s magistrates during the late Middle Age. Its frescroed halls are still used occasionally for political meetings and the ground floor houses the municipal registry office.. The palazzo was built by Giacomo della Porta who carried out Michelangelo’s design for the pizza del Compidoglio in the mid 16C.
you can download my presentations at
http://www.authorstream.com/Presentation/guimera-4854333-glass-european-paintings/
http://www.authorstream.com/MyUploaded-Presentations/All
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
Brushstrokes of Inspiration: Four Major Influences in Victor Gilbert’s Artist...KendraJohnson54
Throughout his career, Victor Gilbert was influenced heavily by various factors, the most notable being his upbringing and the artistic movements of his time. A rich tapestry of inspirations appears in Gilbert’s work, ranging from their own experiences to the art movements of that period.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
10. POUSSIN, Nicolas
The Death of Germanicus
(detail)1627
Oil on canvas, 148 x 198 cm
Institute of Arts, Minneapolis
11. POUSSIN, Nicolas
The Death of Germanicus
(detail)1627
Oil on canvas, 148 x 198 cm
Institute of Arts, Minneapolis
12. POUSSIN, Nicolas
The Death of Germanicus
(detail)1627
Oil on canvas, 148 x 198 cm
Institute of Arts, Minneapolis
13. POUSSIN, Nicolas
The Death of Germanicus
(detail)1627
Oil on canvas, 148 x 198 cm
Institute of Arts, Minneapolis
14.
15. POUSSIN, Nicolas
Continence of Scipio
1643-1649
Oil on canvas, 114 x 163 cm
The Pushkin State Museum of Fine
Arts, Moscow
16. POUSSIN, Nicolas
Continence of Scipio (detail)
1643-1649
Oil on canvas, 114 x 163 cm
The Pushkin State Museum of Fine
Arts, Moscow
17. POUSSIN, Nicolas
Continence of Scipio (detail)
1643-1649
Oil on canvas, 114 x 163 cm
The Pushkin State Museum of Fine
Arts, Moscow
18. POUSSIN, Nicolas
Continence of Scipio (detail)
1643-1649
Oil on canvas, 114 x 163 cm
The Pushkin State Museum of Fine
Arts, Moscow
19. POUSSIN, Nicolas
Continence of Scipio (detail)
1643-1649
Oil on canvas, 114 x 163 cm
The Pushkin State Museum of Fine
Arts, Moscow
20.
21. POUSSIN, Nicolas
The Rape of the Sabine Women I
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
22. POUSSIN, Nicolas
The Rape of the Sabine Women I
(detail)
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
23. POUSSIN, Nicolas
The Rape of the Sabine Women I
(detail)
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
24. POUSSIN, Nicolas
The Rape of the Sabine Women I
(detail)
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
25. POUSSIN, Nicolas
The Rape of the Sabine Women I
(detail)
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
26. POUSSIN, Nicolas
The Rape of the Sabine Women I
(detail)
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
27. POUSSIN, Nicolas
The Rape of the Sabine Women I
(detail)
1634-35
Oil on canvas, 154,6 x 209,9 cm
Metropolitan Museum of Art, New
York
28.
29. POUSSIN, Nicolas
The Rape of the Sabine Women
1637-1638
Oil on canvas, 398.8 × 515.6 cm
Musée du Louvre, Paris
30. POUSSIN, Nicolas
The Rape of the Sabine Women
(detail)
1637-1638
Oil on canvas, 398.8 × 515.6 cm
Musée du Louvre, Paris
31. POUSSIN, Nicolas
The Rape of the Sabine Women
(detail)
1637-1638
Oil on canvas, 398.8 × 515.6 cm
Musée du Louvre, Paris
32. POUSSIN, Nicolas
The Rape of the Sabine Women
(detail)
1637-1638
Oil on canvas, 398.8 × 515.6 cm
Musée du Louvre, Paris
33. POUSSIN, Nicolas
The Rape of the Sabine Women
(detail)
1637-1638
Oil on canvas, 398.8 × 515.6 cm
Musée du Louvre, Paris
34. POUSSIN, Nicolas
The Rape of the Sabine Women
(detail)
1637-1638
Oil on canvas, 398.8 × 515.6 cm
Musée du Louvre, Paris
35.
36. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
37. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
38. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
39. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
40. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
41. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
42. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
43. POUSSIN, Nicolas
The Destruction of the Temple at
Jerusalem II (detail)
1637
Oil on canvas, 147 x 198 cm
Kunsthistorisches Museum, Vienna
44.
45. POUSSIN, Nicolas
The Destruction and Sack of the
Temple of Jerusalem
1625 - 1626
Oil on canvas, 145.8 x 194 cm
The Israel Museum, Jerusalem
46. POUSSIN, Nicolas
The Destruction and Sack of the
Temple of Jerusalem (detail)
1625 - 1626
Oil on canvas, 145.8 x 194 cm
The Israel Museum, Jerusalem
47. POUSSIN, Nicolas
The Destruction and Sack of the
Temple of Jerusalem (detail)
1625 - 1626
Oil on canvas, 145.8 x 194 cm
The Israel Museum, Jerusalem
48. POUSSIN, Nicolas
The Destruction and Sack of the
Temple of Jerusalem (detail)
1625 - 1626
Oil on canvas, 145.8 x 194 cm
The Israel Museum, Jerusalem
49. POUSSIN, Nicolas
The Destruction and Sack of the
Temple of Jerusalem (detail)
1625 - 1626
Oil on canvas, 145.8 x 194 cm
The Israel Museum, Jerusalem
50. POUSSIN, Nicolas
The Destruction and Sack of the
Temple of Jerusalem (detail)
1625 - 1626
Oil on canvas, 145.8 x 194 cm
The Israel Museum, Jerusalem
51.
52. POUSSIN, Nicolas
The Adoration of the Golden Calf
c. 1634
Oil on canvas, Iaid down on board,
154 x 214 cm
National Gallery, London
53. POUSSIN, Nicolas
The Adoration of the Golden Calf
(detail)
c. 1634
Oil on canvas, Iaid down on board,
154 x 214 cm
National Gallery, London
54. POUSSIN, Nicolas
The Adoration of the Golden Calf
(detail)
c. 1634
Oil on canvas, Iaid down on board,
154 x 214 cm
National Gallery, London
55. POUSSIN, Nicolas
The Adoration of the Golden Calf
(detail)
c. 1634
Oil on canvas, Iaid down on board,
154 x 214 cm
National Gallery, London
56. POUSSIN, Nicolas
The Adoration of the Golden Calf
(detail)
c. 1634
Oil on canvas, Iaid down on board,
154 x 214 cm
National Gallery, London
57. POUSSIN, Nicolas
The Adoration of the Golden Calf
(detail)
c. 1634
Oil on canvas, Iaid down on board,
154 x 214 cm
National Gallery, London
64. POUSSIN, Nicolas
The Inspiration of the Poet
Poussin spent almost all his career in Rome painting in isolation. He endeavoured to create a clear visual language that would appeal to the spectator's mind and affect him
rationally rather than through the emotions His oeuvre is one of the supreme expressions of classicism in French art. The subject of the Inspiration of the Poet remains under
discussion: it is possible that the young man on the right, being inspired by Apollo, is Virgil, and the figure standing on the left Calliope, muse of epic poetry. In both figures
there are distinct references to antique sculpture, as so often in Poussin's work, and the golden light shows the influence of the great Venetian painters of the sixteenth century.
The appearance of the muse Calliope has led to the suggestion that the picture was painted in honour of a recently dead poet.
65. POUSSIN, Nicolas
Dance to the Music of Time
The painting was commissioned by Cardinal Giulio Rospigliosi who probably devised the subject: Poverty, Labour, Wealth and Pleasure dance an eternal round to the
music of Time.
Even if the Poussin's depiction of human life dancing a roundelay to the music of time takes up an age-old idea, the subject may have been suggested to him by Giulio
Rospigliosi, who commissioned the painting.
66. POUSSIN, Nicolas
The Death of Germanicus
The young Roman general Germanicus has just been poisoned by his jealous adoptive father, the emperor Tiberius. On his deathbed, Germanicus asks his friends to avenge his
murder and his wife to endure her sorrow bravely. The subject of this, Poussin's first major history painting, comes from the Annales of the Roman historian Tacitus. The event
occurred in 19 CE.
A key work in Western painting, this tragic picture presents a moral lesson in stoic heroism, seen especially in the restraint and dignity of the mourning soldiers. This painting became
the model for countless deathbed scenes for two centuries to come, particularly for Neoclassical art around 1800. Many powerful human themes figure here: death, suffering, injustice,
grief, loyalty, and revenge.
Poussin drew on Roman antiquity for the form as well as the subject of this painting. The figures are arranged in a frieze-like composition which was almost certainly derived from the
arrangement of figures on classical sarcophagi.
67. POUSSIN, Nicolas
Continence of Scipio
Scipio Aemilianus, Publius Cornelius, African Minor (185-129 BC) Roman statesman and general. He commanded the Roman troops in the third Punic war, which ended by the
capture and destruction of Carthage in 146 BC. A legend says that he was presented with a young beautiful captive, but founding out that she was betrothed, he returned her to
her fiancé.
The victor is crowned with a laurel wreath not only for his military valour, but also for the good sense and generosity of his action, which is greatly appreciated by Roman warriors
and Carthaginians alike.
68. POUSSIN, Nicolas
The Rape of the Sabine Women I
Metropolitan Museum of Art, New York
Poussin created two interpretations of this theme, The Rape of the Sabine Women and The Abduction of the Sabine Women.
Both paintings tell the legendary story of the men of Rome acquiring wives for themselves by kidnapping them from their Sabine neighbors. As the story goes, shortly after the
founding of Rome, there were very few women, so Romulus held a festival, inviting members of the neighboring towns. At the festival, on the signal of Romulus, the Roman men
abducted the women to take them for their wives.
In this context, the word “rape” is more closely tied to “abduction,” as in the act of taking the women, rather than sexually assaulting them. This theme has been revisited
throughout antiquity in paintings, sculptures, and literature. Poussin’s work now hangs in the Metropolitan Museum of Art in New York.
69. POUSSIN, Nicolas
The Rape of the Sabine Women
Musée du Louvre, Paris
Painted for Cardinal Luigi Omodei. The subject, taken from Plutarch's life of Romulus, illustrates the moment when the Romans seize the Sabine women in order to take them for their
wives.
Poussin painted an initial version of this composition circa 1635 (New York, Metropolitan Museum of Art).
The painting and its double
According to Bellori, the Italian biographer of Poussin, the canvas was painted for Cardinal Aluigi Omodei, who kept it until his death in 1685. His inheritors then sold it to Louis XIV. The
king was anxious to build up a collection of the artist's works - despite his absence from the Parisian scene, Poussin was still a model for the painters of the Académie. He had already
completed a composition on the same theme in 1633-34 for Maréchal de Créqui, who was then on a mission to Rome. This first version is in the Metropolitan Museum of Art, New York. The
same subjects were often painted by Poussin after an interval of several years, so this is not an isolated example. It means we are able to judge his ability to inject new life into his
compositions, the most famous example being that of the Sacraments, where he executed two series of seven paintings.
Women for the greatness of Rome
The painting depicts one of the mythical episodes surrounding the history of ancient Rome. The city has just been founded by Romulus, and the Romans wish to ensure the future
prosperity of their young nation. As there is a lack of women to provide the necessary offspring, they plan a mass abduction. With this in mind, they invite the neighboring Sabines to a
feast during which they seize the women and drive off the men. Three years later, the Sabines attack Rome in revenge. But the conflict is prevented thanks to the women, who stand
between their brothers and their husbands (to whom they have become reconciled). Thus peace was achieved between the two peoples.
Poussin has chosen to illustrate the scene of the abduction. Romulus stands on the left, dominating the proceedings, in a pose directly inspired by Imperial statues. In the central section,
the painter emphasizes the panic and confrontation between the men and women. This all takes place against an architectural background in linear perspective, which gives the work its
vanishing point. Also of interest is the way the artist has organized the figures, using two diagonal lines that start from the edges of the picture and join up where there is a gap in the
landscape, thus making the work more dynamic.
70. POUSSIN, Nicolas
The Destruction of the Temple at Jerusalem II
In the last part of the 1630s Poussin's art underwent a rapid metamorphosis. One of the best examples of this is the Destruction of the Temple at Jerusalem. It is dry in
handling and agitated in composition, and has that peculiar unattractiveness of surface on which Poussin was to dwell so much in his later years. His denial of the sensual
quality of painting was deliberate: this preoccupation with surface texture is found in all his pictures of around 1630.
Yet the Vienna picture succeeds by the mood it creates. The subject is one of prime importance for Jewish as well as Christian history - the final and irrevocable loss of the
Jews' holiest place - and Poussin has concentrated on the mood of wanton destruction.
This is the second version of The Destruction of the Temple by Poussin, the first version has come down to us only in an engraving. Here the individual scenes are framed
between the regular succession of huge columns. It is evident that the artist has already begun to study Rome's ancient monuments, as a comparison with antique sculptures
such as the Trophies of Marius reveals.
71. POUSSIN, Nicolas
The Destruction and Sack of the Temple of Jerusalem
Nicolas Poussin was the foremost exponent and practitioner of seventeenth-century Classicism. This work from his early Italian period (1625-1626) was commissioned by Poussin'
patron Cardinal Francesco Barberini, nephew and secretary of Pope Urban VIII, and was offered as a gift to Cardinal Richelieu, the French head of state.
Barberini led a papal legation in a vain attempt to reconcile France and Spain, at the time engaged in a bloody war. Poussin draws a parallel in the painting between his patron, the
would-be peacemaker, and the enlightened pagan emperor Titus, who tried unsuccessfully to prevent the ruin of Jerusalem and its temple.
The composition is divided between the image of the Temple engulfed in flames in the background and the chaotic struggle, dominated by the striking figure of Titus on his white mount,
in the foreground. A sense of drama, with the clash of arms and flashes of golden light from the Temple vessels, suffuses the entire work.
Classical Roman architecture and sculpture provided sources for Poussin's painting. The scene seems to be a Roman city: the soldiers' dress is taken from reliefs on Roman
sarcophagi; the facade of the Temple resembles that of the Pantheon; the figure of Titus was inspired by the equestrian statue of Marcus Aurelius in the Capitoline; and the menorah
derives from the famous depiction on the Arch of Titus.
After Richelieu's death, the painting was inherited by his niece, who then sold it. It changed hands many times and eventually reached England. Its whereabouts were unknown from the
late 1700s until 1995, when it was rediscovered by the art historian Sir Denis Mahon, restored to its original state, and donated to the Israel Museum in 1998.
72. POUSSIN, Nicolas
The Adoration of the Golden Calf
The Adoration of the Golden Calf was originally paired with the Crossing of the Red Sea now in Melbourne. Both illustrate episodes from Exodus in the Old Testament; this painting
relates to chapter 32.
In the wilderness of Sinai the children of Israel, disheartened by Moses' long absence, asked Aaron to make them gods to lead them. Having collected all their gold earrings, Aaron
melted them down into the shape of a calf, which they worshipped.
In the background on the left Moses and Joshua come down from Mount Sinai with the tablets of the Ten Commandments. Hearing singing and seeing 'the calf and the
dancing...Moses' anger waxed hot, and he cast the tablets out of his hands, and brake them beneath the mount.' The tall bearded figure in white is Aaron still 'making proclamation' of a
feast to the false god.
Poussin is said to have made little figures of clay to use as models, and the story is confirmed by the dancers in the foreground. They are a mirror image of a pagan group of nymphs
and satyrs carousing in Poussin's earlier Bacchanalian Revel also in the National Gallery.
Within a majestic landscape painted in the bold colours Poussin learned from Titian, before a huge golden idol more bull than calf (and many earrings' worth), these Israelite revellers
give homage to the potency of Poussin's vision of antiquity. As on a sculpted relief or painted Greek vase, figures are shown in suspended animation, heightened gestures or
movements isolated from those of their neighbours, so that the effect of the whole is at one and the same time violent and static.
73. POUSSIN, Nicolas
A French classical painter, Nicolas Poussin has been an inspiration for countless number of great artists since the 17th century.
At the age of 18, Poussin ran away from his hometown in Normandy, France, to Paris and began studying in the studios of the
Flemish painters Ferdinand Elle and George Lallemand, who later became famous as the teachers of the great Nicolas Poussin.
At the age of 10, he traveled to Rome, where he received two major commissions, Death of Germanicus and the Martyrdom of
Saint Erasmus, the latter of which was publicly debuted, although it marked the last time he was to receive a public commission
from the church. After his first public debut, Poussin fell seriously ill, and was taken to the house of his friend, Jacques Dughet,
whose daughter nursed him back to health. The next year, Poussin and Dughet’s daughter, Anna Maria, were married.
While in Rome, Poussin met with many other artists, and befriended those with classical leanings, like himself, eventually forming
an informal academy of artists and patrons, all opposed to the overbearing Baroque style. After his last church commission,
Poussin relied solely on the private patronage for his works, and so in 1640, returned to France an was hired as s court painter by
Louix VIII, who gave him the title of First Painter in Ordinary.
Although he completed many works during his stay in France, he grew disgusted with French social intrigue, and so he withdrew
back to Rome, where he continued to complete a great number of varied works each year. In his later life, Poussin suffered
declining health and a tremor in his hand, which may have affected his painting ability. Upon his death, he left no heirs, except for
his wife’s brother, whom he adopted as a son, and who took the Poussin name. After his death, King Louis XIV amasses a huge
amount of his works, many of which now hang on the Louvre, which has an entire gallery dedicated to just Poussin’s works.