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Poussin is probably the first painter in history to examine this subject. This episode in the of ancient Rome is taken from the Annals of Tacitus.It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname.
Copy of the Moscow painting considered to be by Poussin himself: Madrid, Prado: 45a/200 Bacchic scene or Nymph and satyr drinking: 1626–1628: 77 x 62 cm: Copy of the Prado painting considered to be by Poussin himself: Moscow, Pushkin Museum: 45b/200 Midas washing himself in the source of the river Pactolus: 1626–1628 c. 97,5 x 72,5 cm
Nicolas Poussin (UK: / ˈ p uː s æ̃ /, US: / p uː ˈ s æ̃ /, [1] [2] French: [nikɔla pusɛ̃]; June 1594 – 19 November 1665) was a French painter who was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome.
The following other wikis use this file: Usage on als.wikipedia.org Nicolas Poussin; Usage on el.wikipedia.org Γερμανικός; Usage on es.wikipedia.org
Poussin – The Death of Germanicus. Nicolas Poussin – The Death of Germanicus; Rembrandt – Rembrandt's Mother: Bust (etching) Francisco de Zurbarán – Saint Serapion; Cornelis van Haarlem – The Judgement of Paris (approximate date) Anthony van Dyck. Nicolas Lanier; The Shepherd Paris (approximate date)
The painting was commissioned on February 5, 1628, by the Fabric of Saint Peter, to adorn the altar dedicated to Erasmus of Formia in St. Peter's Basilica. More precisely, it was to be located to the left of the north transept, near the Martyrdom of Saint Processus and Saint Martinian by Valentin de Boulogne (1629). [2]
Mythological paintings by Nicolas Poussin (16 P) Pages in category "Paintings by Nicolas Poussin" The following 38 pages are in this category, out of 38 total.
Today, the sobriety and control of Poussin's paintings can seem difficult, or remote, to audiences. But in Extreme Unction subject and style are so perfectly aligned that Poussin's stark, lyrical, line, and controlled play of light and shadow bring out the full depth of emotion that marks this momentous scene.