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Nicolas Poussin A Bacchanalian Revel Befroe a Term of Pan oil painting


A Bacchanalian Revel Befroe a Term of Pan
Painting ID::  43224
Nicolas Poussin
A Bacchanalian Revel Befroe a Term of Pan
mk170 1630-1634 Oil on canvas 99.7x142.9cm

   
   
     

Nicolas Poussin The Adoration of the Golden Calf oil painting


The Adoration of the Golden Calf
Painting ID::  43225
Nicolas Poussin
The Adoration of the Golden Calf
mk170 1634-1635 Oil on canvas laid down on board 154.3x214cm

   
   
     

Nicolas Poussin The Finding of Moses oil painting


The Finding of Moses
Painting ID::  43226
Nicolas Poussin
The Finding of Moses
mk170 1651 Oil on canvas 116x177.5cm

   
   
     

Nicolas Poussin Landscape with a Man Washing His Feet at a Fountain oil painting


Landscape with a Man Washing His Feet at a Fountain
Painting ID::  43227
Nicolas Poussin
Landscape with a Man Washing His Feet at a Fountain
mk170 circa 1648 Oil on canvas 74.3x100.3cm

   
   
     

Nicolas Poussin The hl, Famile in Agypten oil painting


The hl, Famile in Agypten
Painting ID::  45615
Nicolas Poussin
The hl, Famile in Agypten
m k186 around 1655-57 St. Peter castle, Eremitage

   
   
     

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     Nicolas Poussin
     French 1594-1665 Nicolas Poussin Galleries The finest collection of Poussin's paintings, in addition to his drawings, is located in the Louvre in Paris. Besides the pictures in the National Gallery and at Dulwich, England possesses several of his most considerable works: The Triumph of Pan is at Basildon House, near to Pangbourne, (Berkshire), and his great allegorical painting of the Arts at Knowsley. The later version of Tancred and Erminia is at the Barber Institute in Birmingham. At Rome, in the Colonna and Valentini Palaces, are notable works by him, and one of the private apartments of Prince Doria is decorated by a great series of landscapes in distemper. Throughout his life he stood aloof from the popular movement of his native school. French art in his day was purely decorative, but in Poussin we find a survival of the impulses of the Renaissance coupled with conscious reference to classic work as the standard of excellence. In general we see his paintings at a great disadvantage: for the color, even of the best preserved, has changed in parts, so that the harmony is disturbed; and the noble construction of his designs can be better seen in engravings than in the original. Among the many who have reproduced his works, Audran, Claudine Stella, Picart and Pesne are the most successful.

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     | William Henry Shelton | Huldrych Zwingli | Vladimir Baranov-Rossine |


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