Search results
Results From The WOW.Com Content Network
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.
1626–1627 c. (or c. 1628 ?) 98 x 73,5 cm: Originally used for Bacchus-Erigone, then painted over by Poussin with a Bacchus-Apollo. Much later repainting, to cover the figures' genitalia. Stockholm, Nationalmuseum: 53/135 Bacchic scene or Nymph and satyr drinking: 1626–1628: 74 x 60 cm: Copy of the Moscow painting considered to be by Poussin ...
Nicolas Poussin: The Death of Germanicus ; Artist: Nicolas Poussin (1594–1665) Alternative names: Niccolò Possino. Description: French painter, drawer and decorator:
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 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]
Nicolas Poussin, The Death of Germanicus (1627), oil painting. Collection Minneapolis Institute of Arts. [69] He then made his way to Egypt, arriving to a tumultuous reception in January AD 19. He had gone there to relieve a famine in the country vital to Rome's food supply.
The Funeral of Phocion is a 1648 landscape painting, also known as The Burial of Phocion, Landscape with the Funeral of Phocion and Landscape with the Body of Phocion Carried out of Athens, by the French artist Nicolas Poussin. Phocion was an Athenian statesman from the 4th century BC. Three versions of the painting are known.
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.