DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0306
28o
OLD WORLD MASTERS
at Les Andelys. In Paris he studied under Ferdinand Elie, a Flemish
portrait-painter, and L’Allemand, a native of Lorraine. In 1620 he
started for Rome, but only got as far as Florence. Compelled to re-
turn to Paris he now formed a friendship with Philippe de Champaigne
(also a pupil of L’Allemand) and worked with him on the decorations
of the Luxembourg under Duchesne. Four years later Poussin arrived
in Rome, his long desired goal, and plunged enthusiastically into the
study of ancient art, also working in the studio of Domenichino. For
a long time Poussin had to struggle with poverty, illness, and Italian
hatred,—for the Italians and French were enemies at this time. Mar-
riage with the daughter of a wealthy compatriot changed matters
and Poussin bought with his bride’s dowry a handsome house on the
Pincian Hill. Cardinal Barberini’s patronage now brought Poussin
fame, for the Cardinal commissioned two paintings, The Death of
Germanicus and The Capture of Jerusalem—besides other important
orders. Poussin’s reputation soared rapidly and in 1640 Louis XIII
called him to Paris, appointed him first painter-in-ordinary, and
gave him a residence in the garden of the Tuileries for life. For two
years Poussin worked industriously, producing many paintings,
cartoons for tapestries, and illustrations for books; but he longed for
his beloved Rome and in 1642 returned to that city, where he spent
the remainder of his life in the tranquil pursuit of his art. Poussin
painted for twenty-three more years and died in Rome in 1665. His
works are numerous; and, with the exception of a few portraits, are
chiefly devoted to mythological, classical, historical, and Biblical
subjects. Titian was his idol. However, despite his Italian inspira-
tion and taste, Poussin is regarded as the head of the French School.
His devotion to classical subjects and his deep study of the antique
in all its expressions make Poussin one of the most scholarly of painters.
Sir Joshua Reynolds says: “In contemplating his classical pic-
tures the mind is thrown back into antiquity or remote ages; and it
would be no difficult matter for the spectator to imagine that such
pictures were coeval, or nearly so, in their production with the mytho-
logical metamorphosis and Bacchanalian festivals that are set before
him. His shepherds, fauns, nymphs, satyrs, and Bacchanals appear
OLD WORLD MASTERS
at Les Andelys. In Paris he studied under Ferdinand Elie, a Flemish
portrait-painter, and L’Allemand, a native of Lorraine. In 1620 he
started for Rome, but only got as far as Florence. Compelled to re-
turn to Paris he now formed a friendship with Philippe de Champaigne
(also a pupil of L’Allemand) and worked with him on the decorations
of the Luxembourg under Duchesne. Four years later Poussin arrived
in Rome, his long desired goal, and plunged enthusiastically into the
study of ancient art, also working in the studio of Domenichino. For
a long time Poussin had to struggle with poverty, illness, and Italian
hatred,—for the Italians and French were enemies at this time. Mar-
riage with the daughter of a wealthy compatriot changed matters
and Poussin bought with his bride’s dowry a handsome house on the
Pincian Hill. Cardinal Barberini’s patronage now brought Poussin
fame, for the Cardinal commissioned two paintings, The Death of
Germanicus and The Capture of Jerusalem—besides other important
orders. Poussin’s reputation soared rapidly and in 1640 Louis XIII
called him to Paris, appointed him first painter-in-ordinary, and
gave him a residence in the garden of the Tuileries for life. For two
years Poussin worked industriously, producing many paintings,
cartoons for tapestries, and illustrations for books; but he longed for
his beloved Rome and in 1642 returned to that city, where he spent
the remainder of his life in the tranquil pursuit of his art. Poussin
painted for twenty-three more years and died in Rome in 1665. His
works are numerous; and, with the exception of a few portraits, are
chiefly devoted to mythological, classical, historical, and Biblical
subjects. Titian was his idol. However, despite his Italian inspira-
tion and taste, Poussin is regarded as the head of the French School.
His devotion to classical subjects and his deep study of the antique
in all its expressions make Poussin one of the most scholarly of painters.
Sir Joshua Reynolds says: “In contemplating his classical pic-
tures the mind is thrown back into antiquity or remote ages; and it
would be no difficult matter for the spectator to imagine that such
pictures were coeval, or nearly so, in their production with the mytho-
logical metamorphosis and Bacchanalian festivals that are set before
him. His shepherds, fauns, nymphs, satyrs, and Bacchanals appear