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.  Related Paintings of Nicolas Poussin :. | Parnassus | Triumph of Neptune | Holy Family on the Steps | Flight into Egypt | The Burial of Phocion |
Related Artists:
CORNELISZ VAN OOSTSANEN, Jacob
Dutch Northern Renaissance Painter, ca.1472-1533 North Netherlandish painter, designer and woodcutter. He was the brother of Cornelis Buys I ( fl 1490-1524), who is usually identified as the MASTER OF ALKMAAR (see MASTERS, ANONYMOUS, AND MONOGRAMMISTS,
Jan Polack
Jan Polack Johannes Po(l)lack (Hanns Polagk, Polegk), (Latin: Ioannes Polonus) (between 1435 and 1450 (possibly in Krakew) - 1519 in Munich) was a 15th-century painter. From his nickname it is assumed that he might have worked in Krakew. From the mid-1470s on, he lived and worked in Munich, having previously been in Franconia. He may have taken part in the 1475 festival of the Landshut Wedding of Jadwiga Jagiellon and George of Bavaria. In 1480 he opened his own shop in Munich. Starting in 1482 he is listed on the tax records of Munich, also as leader of the local painter guild. He visited with Michael Wohlgemuth and his art was influenced by him and by that of Veit Stoss and Hans Pleydenwurff as well as by collaboration with the woodcutter Erasmus Grasser. Documents mention many works of his which are now lost. His most important remaining work is the Weihenstephan altarpiece (1483 - 1485), now at the Alte Pinakothek in Munich.
Caillebotte, Gustave
French Impressionist Painter, 1848-1894 .French painter and collector. Caillebotte's parents, of Norman descent, were wealthy members of the Parisian upper middle class, and his paintings often evoke his family background. After studying classics at the Lyc?e Louis Le Grand, he obtained a law degree in 1870, and during the Franco-Prussian War he was drafted into the Seine Garde Mobile (1870-71). He joined L?on Bonnat's studio in 1872 and passed the entrance examination for the Ecole des Beaux-Arts on 18 March 1873. The records of the Ecole make no mention of his work there, and his attendance seems to have been short-lived. He was very soon attracted by the innovative experiments, against academic teaching, of the young rebels who were to become known as the Impressionists. In 1874 Edgar Degas, whom Caillebotte had met at the house of their mutual friend Giuseppe de Nittis, asked him to take part in the First Impressionist Exhibition at the Nadar Gallery in the Boulevard des Capucines in Paris. However, it was only at the time of their second exhibition in April 1876 that, at Auguste Renoir's invitation, Caillebotte joined the Impressionist group. From then on he was one of the most regular participants in their exhibitions (1877, 1879, 1880, 1882). He organized the show of 1877 and made great efforts to restore the cohesion of the group by persuading Claude Monet to exhibit in 1879.