DOI Heft:
Nr. 3
DOI Artikel:Martin, John Rupert: Portraits of Poussin and Rubens in works by Daniel Seghers
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17136#0072
\; 5. Daniel Seghers, Garland of Flowers with the Portrait of Rubens,
Art Museum, Princeton University.
sounding blow for Rubens and tlie colorists in the Dialogue sur le coloris (1673) and the
Conversations sur la connoissance de la peinture (1677). And Felibicn, in turn, took it upon
himself to reaffirm the superiority of Poussin.
Although Blanchard is sometimes credited with having fired the opening shot, it is evident,
as Andre Fontaine bas remarked,11 that the origins of the battle between the Rubenistes
and the Poussinistes go back much earlier than the first acts of open warfare in the 1670's.
Properly speaking, the controversy is only a revival, in more modern terms, of the sixteenth-
century discussions of the disegno of Michelangelo and the colore of Titian. Indeed the que-
stion of drawing and color was probably being argued from the moment that the Academy
itself was founded in 1648. The presence in Paris of Rubens' Galerie de Medicis must have
been a thorn in the side of those who preferred the disciplined classicism of Poussin to the
sensuous colorism of the Plemisb master. The bitter conflict which begau to be publicly wa-
li. Op. cii., pp. 3 ń.
72
Art Museum, Princeton University.
sounding blow for Rubens and tlie colorists in the Dialogue sur le coloris (1673) and the
Conversations sur la connoissance de la peinture (1677). And Felibicn, in turn, took it upon
himself to reaffirm the superiority of Poussin.
Although Blanchard is sometimes credited with having fired the opening shot, it is evident,
as Andre Fontaine bas remarked,11 that the origins of the battle between the Rubenistes
and the Poussinistes go back much earlier than the first acts of open warfare in the 1670's.
Properly speaking, the controversy is only a revival, in more modern terms, of the sixteenth-
century discussions of the disegno of Michelangelo and the colore of Titian. Indeed the que-
stion of drawing and color was probably being argued from the moment that the Academy
itself was founded in 1648. The presence in Paris of Rubens' Galerie de Medicis must have
been a thorn in the side of those who preferred the disciplined classicism of Poussin to the
sensuous colorism of the Plemisb master. The bitter conflict which begau to be publicly wa-
li. Op. cii., pp. 3 ń.
72