#nicholas poussin

[artandthebible]

Saints Peter and John Healing the Lame Man

Artist: Nicolas Poussin (French, 1594–1665)

Genre: Religious Art

Date: 1655

Medium: Oil on Canvas

Collection: Metropolitan Museum of Art, New York City

Description

At the temple in Jerusalem where the old and infirm beg for alms, Peter and John cure a man who cannot walk (Acts 3:1–10): “Then Peter said, Silver and gold I do not have; but what I do have I give you: In the name of Jesus Christ of Nazareth rise up and walk.” Poussin looked to High Renaissance artists for inspiration to represent this scene: Raphael used measured, pyramidal compositions built around the temple steps such as this, while Michelangelo probably prompted the gestures of the central group which relate to his Creation of Adam in the Sistine Chapel. Facial types, notably the almond-shaped eyes and straight noses, copy classical sculpture.

[mythological-art]

A Dance to the Music of Time

Artist: Nicolas Poussin (Italian, 1594–1665)

Date: c. 1634–1636, Italy

Medium: Oil on Canvas

Collection: The Wallace Collection, London

Description

Although trained in Paris, the French painter Nicholas Poussin spent most of his career in Rome. This painting was created for a Roman patron, Giulio Rospigliosi, later Pope Clement IX. A circle of figures who symbolise the Seasons dance to the music played by Father Time on his lyre. Autumn, usually represented by a woman, is here represented as Bacchus, the god of wine. Two putti, one blowing bubbles and the other holding an hour glass, allude to the transience of human life; the double-headed herm, depicting the youthful and mature Bacchus, points its old head towards the dance, while its young head looks out of the composition to the future. In the sky, the sun god Apollo rides across the morning sky in his chariot, preceded by Aurora (dawn) and followed by the Hours.

The exact meaning of the composition is not known. The subject originally derived from a passage in Les Dionysiaques by Claude Boitet de Frauville, which describes how, following the complaints of Jupiter and the Seasons, Jupiter gave Bacchus and his gift of wine to alleviate human suffering. However, the dancing figures came to be more generally associated with the perpetual cycle of the human condition itself: from poverty to labour to riches and then to pleasure, which, if indulged to excess, reverts to poverty. The painting remained in Rospigliosi’s Roman residence, where it was last recorded in 1713. It was later bought by Cardinal Fesch, uncle of Napoleon Bonaparte, from whose sale it was bought by the 4th Marquess of Hertford in 1845.

[malenudepaintings]

Exposition of Moses, 1627, Nicholas Poussin

[snakesgetfat]

Rosa Bonheur (French painter and sculptor) 1822 - 1899 The Forlorn Donkey, ca. 1881 oil on paper laid down on canvas 35.7 x 25.5 cm. (14.25 x 10 in.) signed 'Rosa Bonheur' (lower right) private collection © photo Christie's

Rosa Bonheur made another version of this donkey, Head of a Donkey, 1881, oil on panel, 29.5 x 25 cm.

* * *

Rosa Bonheur was a French animalière, realist artist, and sculptor. As a painter she became famous primarily for two chief works: Ploughing in Nevers and The Horse Fair (in French: Le marché aux chevaux) (which was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City. Bonheur is widely considered to have been the most famous female painter of the nineteenth century.

Bonheur was born in Bordeaux (where her father had been friends with Francisco Goya who was living there in exile) but moved to Paris in 1828 at the age of six with her mother and brothers, her father having gone ahead of them to establish a residence and income. By family accounts, she had been an unruly child and had a difficult time learning to read. To remedy this her mother taught her to read and write by having her select and draw an animal for each letter of the alphabet. To this practice in the company of her doting mother she attributed her love of drawing animals.

Although she was sent to school like her brothers, she was a disruptive force in the classroom and was consequently expelled from numerous schools. Finally, after trying to apprentice her to a seamstress Raimond agreed to take her education as a painter upon himself. She was twelve at that point and would have been too young to attend the École des Beaux-Arts even if they had accepted women. As was traditional in the art schools of the period, Bonheur began her artistic training by copying images from drawing books and by sketching from plaster models. As her training progressed she began to make studies of domesticated animals from life, to include horses, sheep, cows, goats, rabbits and other animals in the pastures on the perimeter of Paris, the open fields of Villiers[disambiguation needed] and the (then) still-wild Bois de Boulogne. At age fourteen she began to copy from paintings at the Louvre. Among her favorite painters were Nicholas Poussin and Peter Paul Rubens, but she also copied the paintings of Paulus Potter, Porbus, Louis Léopold Robert, Salvatore Rosa and Karel Dujardin. She also studied animal anatomy and osteology by visiting the abattoirs of Paris and by performing dissections of animals at the École nationale vétérinaire d'Alfort, the National Veterinary Institute in Paris. There she prepared detailed studies which she would later use as references for her paintings and sculptures. During this period, too, she also met and became friends with the father and son comparative anatomists and zoologists Étienne Geoffroy Saint-Hilaire and Isidore Geoffroy Saint-Hilaire by whom her father was employed to create natural history illustrations.

Rosa Bonheur received a French government commission which led to her first great success, Ploughing in the Nivernais, exhibited in 1849. Her most famous work was the monumental Horse Fair, completed in 1855, which measured eight feet high by sixteen feet wide. Its subject is the horse market held in Paris on the tree-lined boulevard de l’Hôpital, near the Pitié-Salpêtrière Hospital, visible in the background on the left. It led to international fame and recognition and that same year she travelled to Scotland, "en route" meeting Queen Victoria, who admired her work, and where she completed sketches for later works including A Scottish Raid, completed in 1860, and Highland Shepherd. These were anachronistic pieces as they depicted a way of life in the Scottish highlands that had disappeared a century earlier. Nonetheless, they had enormous appeal to Victorian sensibilities. She was especially popular in England, though less so in her native France. In France she was decorated with the Legion of Honour by the Empress Eugenie and was promoted to officer of the order.

She was represented by private art galleries, and in particular that of Ernest Gambart (1814–1902), who would purchase the reproduction rights to her work and sell engraved copies of her paintings. It was Gambart who brought Bonheur to the United Kingdom in 1855. Many engravings were created by the skillful Charles George Lewis (1808–1880), one of the finest engravers of his day. Gambart sold through his gallery in London's Pall Mall.

Due to a tendency in 1980s-1990s academic criticism to locate Bonheur as a proto-Feminist and as a pivotal figure for Queer theory, she is perhaps most famous today because she was known for wearing men's clothing and living together with Anna Klumpke. Her work and artistic talent has now become somewhat secondary in importance to her manner of dress, her choice of companions and her penchant for smoking cigarettes. On her wearing of trousers, she said at the time that her choice of attire was simply practical as it facilitated her work with animals: "I was forced to recognize that the clothing of my sex was a constant bother. That is why I decided to solicit the authorization to wear men's clothing from the prefect of police. But the suit I wear is my work attire, and nothing else. The epithets of imbeciles have never bothered me...." She lived for over forty years with her childhood friend Nathalie Micas. In the final year of her life she became close with Anna Klumpke, the author of her "autobiography". She died at the age of 77, at Thomery (By), France. Many of her paintings, which had not previously been shown publicly, were sold at auction in Paris in 1900.

Source: Wikipedia 

[iwanthappinessandmusic]

"The purpose of art is delectation"- Nicholas Poussin

"Le but de l'art c'est la délectation" - Nicholas Poussin

[numbwhileintertwined]

listing my favorite things bc im bored

Movies:

Lilya 4-Ever

Christiane F

Level 16

The Chalk Lines

The Tourist

American Mary

The Man Who Cried

The Rum Diary

The DaVinci Code

All of Pirates of The Caribbean

All of Fantastic Beasts

Alice in Wonderland

Orphan

Twister

Room

But I'm A Cheerleader

Interstellar

2001: A Space Odyssey

Blade Runner 2049

Kids

Buffalo 66

The V*rgin S*icides

Eyes Wide Shut

Requiem For A Dream

Prozac Nation

Thirteen

Marie Antoinette

Priscilla

Midsommar

The Florida Project

Trainspotting

Bones and All

Enter the Void

White Oleander

Soylent Green

TV Shows

South Park

Hannibal

SVU

Alba

Criminal Minds

(Old) Grey's Anatomy

(Old) Station 19

The Idol

Inventing Anna

(Old) New Amsterdam

Everything Sucks

Midnight Mass

The X-Files

Books

Aeneid- Virgil

Dante's Divine Comedy- Dante Alighieri

The Brothers Karamazov- Dostoyevsky

Industrial Society And Its Future- Ted K

Anti-Tech Revolution- Ted K

Technological Slavery- Ted K

The Golden Ratio- Gary Meisner

Imperialism THSOC- Vladimir L

The Ego and Its Own- Max Stirner

The Art Of War- Sun Tzu

The Iliad and The Odyssey- Homer

Speak- Laurie Halse Anderson

Wintergirls- Laurie Halse Anderson

Pride and Prejudice- Jane Austen

Brave New World- Aldous Huxley

1984- George Orwell

Crime and Punishment- Dostoyevsky

L*lita- Vladimir Nabokov

The Bell Jar- Sylvia Plath

The Egyptian Book of the Dead

Decoding the Universe- Charles Seife

Art

Our Lady of Kazan- Unknown

A Limier Briquet Hound- Rosa Bonheur

Cats- Armando Spadini

Thunder Storm on Narragansett Bay- Martin Heade

The Martyrdom of Saint Thecla- Pietro Valsecchi

The Abduction of Europa- Rembrandt

The Albobrandini Madonna- Titian

The Sistine Madonna- Raphael

A Young Girl and Her Dog- Joshua Reynolds

Girl at a Window- Rembrandt

Rio Palo Battle- Jose Espinosa

Valley of the Yosemite- Albert Bierstadt

The First Thorns of Knowledge- Unknown

Inside of a Church- Carl Graeb

Highland Raid- Rosa Bonheur

After the Rain- Rae Bredin

Girl Getting Out of the Bath- Paolo Vetri

Shipwreck 1783- Claude-Joseph Vernet

The Birth of Venus- Nicolas Poussin

Virgin Mary of the Cathusians- Manuel Bayeu

Puerto Mediterraneo- Claude-Joseph Vernet

The Consecration of Saint Nicholas- Paolo Veronese

First Mass In Brazil- Vitor Meireles

The Death of Sardanapalus- Eugene Delacroix

Europa- Titan

Divine Shepherdess- Manuel de Samaniego

Saul and David- Rembrandt

Respect- Paolo Veronese

Moses with the Ten Commandments- Rembrandt

Westminster Abbey- Max Ainmiller

Song of the Waters- Jerome Thompson

guys i have over 2k pics saved on google arts and culture I gotta stop

[kecobe]

The Return of the Holy Family from Egypt| Nicolas Poussin (French; 1594–1665) ca. 1628–38 Oil on canvas Dulwich Picture Gallery, London, England

[propaganda-fide]

The Ravishment of Saint Paul - Nicolas Poussin

[ccadrarebooks]

Happy birthday, Nicholas Poussin! The French Baroque painter was born on June 15, 1594 near Les Andelys, Normandy. The painting is Et in Arcadia ego (The Shepherds of Arcadia), second version, late 1630s, now in the Louvre, and the engraving of Poussin comes from A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, 1829-42 [reprint 1908]. Ask a librarian to see anything in our special collections!

[artandthebible]

St John the Baptist Baptizes the People

Artist: Nicolas Poussin (French, 1594–1665)

Genre: Religious Art

Date: circa 1635

Medium: OIl on Canvas

Collection: Louvre Museum, Paris, France

St John the Baptist Baptizes the People

Though today the word baptism generally evokes thoughts of identifying with Christ’s death, burial, and resurrection, baptism did not begin with Christians. For years before Christ, the Jews had used baptism in ritual cleansing ceremonies of Gentile proselytes. John the Baptist took baptism and applied it to the Jews themselves—it wasn’t just the Gentiles who needed cleansing. Many believed John’s message and were baptized by him (Matthew 3:5–6). The baptisms John performed had a specific purpose.

In Matthew 3:11, John the Baptist mentions the purpose of his baptisms: “I baptize you with water for repentance.” Paul affirms this in Acts 19:4: “John’s baptism was a baptism of repentance. He told the people to believe in the one coming after him, that is, in Jesus.” John’s baptism had to do with repentance—it was a symbolic representation of changing one’s mind and going a new direction. “Confessing their sins, they were baptized by him in the Jordan River” (Matthew 3:6). Being baptized by John demonstrated a recognition of one’s sin, a desire for spiritual cleansing, and a commitment to follow God’s law in anticipation of the Messiah’s arrival.

There were some, like the Pharisees, who came to the Jordan to observe John’s ministry but who had no desire to step into the water themselves. John rebuked them sternly: “When he saw many of the Pharisees and Sadducees coming to where he was baptizing, he said to them: ‘You brood of vipers! Who warned you to flee from the coming wrath? Produce fruit in keeping with repentance’” (Matthew 3:7–8). Even the religious leaders needed to repent of their sin, although they saw no need of it.

John prepared the way for Christ by calling people to acknowledge their sin and their need for salvation. His baptism was a purification ceremony meant to ready the peoples’ hearts to receive their Savior.

[landscapewithamankilledbyas-blog]

Image: Edi Rama, “o.T. 7,” 2016, glazed ceramic, from Galerie Michael Schultz

“Here is why the stress has to fall, it seems to me, on the specificity of picturing, and onthat specificity’s being so closely bound up with the mere materiality of a given practice,and on that materiality’s being so often the generator of semantic depth...”--TJ Clark, The Sight of Death, pp. 122–123.

“...it makes the office seem spacious, but signals creative unrest at the same time.”--Press Release for Edi Rama, “Ceramic Works” at Galerie Michael Schultz, 2017

[punworkads]

Et in Arcadia ego, 1639, Nicolas Poussin

Medium: oil,canvas

[seaofwine]

art honoring Dionysos

Here is the fourth part of my series: these are my favorite pieces of art honoring Dionysos. Here are the links for Apollon, Artemis, and Hermes.

Something really interesting about these paintings is that, very often, Dionysos is portrayed with little wingless babies similar to cherubs. During the Renaissance, these chubby little babies are called "putti", and as Cupid's compatriots, are references to the base pleasures, physical desire, or any kind of attraction deemed as 'profane'. Their symbolism changed over time and in the Baroque period, they became symbols of Heaven, peace, and leisure. However, these pieces were made with the former iconography in mind. A key identifier that works for me with regard to deciding if a subject is a cupid, cherub, or putti is if they a) are not flying, firmly on the earth, and b) do not have wings. This is why Dionysos is usually surrounded by these little babies.

Disclaimer: Most artists outside of antiquity used Dionysos/Bacchus interchangeably for a myriad of cultural and religious reasons. I do understand that Bacchus and Dionysos are syncretized deities with especially very different aspects in Greek and Roman society respectively.

In order: 1) The Infancy of Bacchus, or The Little Bacchanal, c. 1625, Nicholas Poussin, on display in the Louvre, Paris. 2) The Young Bacchus by Caravaggio, 1589, Galleria degli Uffizi, Florence. 3) Bacchus by Dosso Dossi, c. 1524, private collection. 4) Bacchus with Attendants by Baldassarre Franceschini, 1670, private collection. 5) Young Bacchus Sleeping by Luca Giordano, 1681-83, the Hermitage, St. Petersburg, Russia. 6) Bacchus, or The Autumn Fountain by Gaspard Marsy, 1672-75, Gardens of the Chateau, Versailles. 7) Bacchus by Jacopo Sansovino, 1512, Museo Nazionale del Bargello, Florence. 8) Bacchus and Ampelos, unknown, c. 150-200 AD, The British Museum.

[apenitentialprayer]

The Rape of the Sabine Women, by Nicholas Poussin, 1633-1634. Hannibal and Scipio Africanus, by Bernardino Cesari, 17th Century. The Destruction of the Temple of Jerusalem, by Francesco Hayez, 1867

Largely because we are heirs to a Roman imperial culture that controlled the writing of history, we are inclined to read Rome's story through rose-colored lenses. We tend to see the march of the Roman Empire as a civilizing work of human progress. Every schoolchild knows that the darkness of barbarism was penetrated by Julius Caesar, who brought order to chaos. "All Gaul," we learned, "is divided into three parts." But we never asked who was doing the dividing, or how the dividees felt about it. [...] We are conditioned to think of the rise and fall of Rome sentimentally, as tragedy pure and simple. The gradual dissipation of imperial power, leading to vulnerability before the northern hordes, is the condition only of a new darkness. But what if Roman imperial power itself, not in decline but at the peak, was the real darkness?

- James Carroll (Constantine’s Sword: The Church and the Jews – A History, pages 79-80)

[T]he imperial city has endeavored to impose on subject nations not only her yoke, but her language, as a bond of peace, so that interpreters, far from being scarce, are numberless. This is true; but how many great wars, how much slaughter and bloodshed, have provided this unity! And though these are past, the end of these miseries has not yet come. For though there have never been wanting, nor are yet wanting, hostile nations beyond the empire, against whom wars have been and are waged, yet, supposing there were no such nations, the very extent of the empire itself produced wars of a more obnoxious description -social and civil wars- and with these the whole race has been agitated, either by actual conflict or the fear of a renewed outbreak. If I attempted to give an adequate description of these manifold disasters, these stern and lasting necessities, though I am quite unequal to the task, what limit could I set?

- Saint Augustine of Hippo, City of God (XIX.17)

Despite the unbridled ruthlessness of his age, Augustine, building on the religious argument of the Hebrew Scriptures, initiated history's first political argument against war, an argument that has come down to us as his widely misunderstood theory of just war. Instead of being a rationale for state-sponsored violence, as its critics are wont to say today, the theory is rather a desperate effort to curtail it, to hem war-making in, that is, by stringent conditions. The idea of the just war, the introduction of limiting principles, and a notion of war as always involving evil, even if a lesser evil, were profoundly humanizing innovations.

- James Carroll (Constantine’s Sword: The Church and the Jews – A History, page 212)

[cma-modern-european-art]

La Cervara, the Roman Campagna, Jean Baptiste Camille Corot , c. 1830-1831, Cleveland Museum of Art: Modern European Painting and Sculpture

Corot recorded form and tonal qualities in outdoor drawings and oil sketches, then executed his paintings in the studio. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting's highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot's early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin. Size: Framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); Unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.) Medium: oil on fabric

https://clevelandart.org/art/1963.91

[dosmortos]

1. Jean-Georges Vibert - Narcissus

A figure mostly known for his obsessive vanity, Narcissus, the son of a nymph and a river god, would spend his last days gazing at his own reflection. But the first man he showed affection for was not himself. A myth traced in origin to the Boeotia region mentions a relationship between Narcissus and the smitten Ameinias, whom Narcissus would eventually grow tired of before sending him a sword as a kiss-off. Ameinias, desperately depressed over the rejection, killed himself.

1. Echo and Narcissus - John William Waterhouse

Echo and Narcissus - Nicholas Poussin

3. Narcissus - Christian Gottlieb Schick

4. Narcissus - Joseph Denis Odevaere

5. Metamorphosis of Narcissus - Salvador Dali