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	Nicolas Poussin
		Nicolas Poussin was the greatest French artist of the seventeenth century, the founder of his country's classical school.
		Poussin turns this incident into a tremendous oration on duty and continuity, overlaid with Christian allusions to the entombment of Jesus, whose life that of Germanicus overlapped.
		Poussin's ancient Romans are not the insipid denizens of lesser classical art but men and women of vivid presence; their gestures have dramatic coherence and intensity.
	www.artchive.com /artchive/P/poussin.html (1025 words)

	Nicolas Poussin - Wikipedia, the free encyclopedia
		Poussin was the founder and greatest practitioner of 17th century French classical painting.
		In 1643, disgusted by the intrigues of Simon Vouet, Feuquires and the architect Lemercier, Poussin withdrew to Rome.
		Poussin was stumbling after Caravaggio while Cezanne was haunted by the demon of a powerful sexuality later sublimated but both discovered that "clarity, order, and rigor" which personalities such as theirs have to adopt as a second or constructed nature.
	en.wikipedia.org /wiki/Poussin (1447 words)

	Poussin, Nicolas on Encyclopedia.com (Site not responding. Last check: 2007-10-20)
		Poussin was considered the greatest of living painters by his contemporaries.
		Poussin's growing preoccupation with the works of antiquity and of Raphael resulted in a new clarity of composition in such paintings as the Adoration of the Magi (1633; Dresden) and The Golden Calf (c.1635; National Gall., London).
		Poussin became especially concerned with the didactic and philosophical possibilities of painting.
	www.encyclopedia.com /html/p/poussinn1.asp (773 words)

	Nicolas Poussin Biography. - Olga's Gallery
		Nicolas Poussin, the greatest French artist of the 17th century, is considered one of the founders of European classicism, a movement in art, based on antique and Renaissance heritage.
		Poussin was born in Normandy, in Les-Andelys, in 1594.
		Poussin was evidently frustrated and disappointed by his lack of success in the intensely competitive field of baroque altarpiece painting.
	www.abcgallery.com /P/poussin/poussinbio.html (1347 words)

	Biography
		Poussin was born in a small hamlet on the Seine River, the son of small farmers.
		Poussin's painterly style was consciously calculated to express such a mood of austere rectitude: such solemn religious works as Holy Family on the Steps (1648) exhibit only a few figures, painted in harsh colours against the severest possible background.
		In the landscapes Poussin began painting at this time, such as Landscape with the Body of Phocion Carried out of Athens (1648) and Landscape with Polyphemus (1649), the disorder of nature is reduced to the order of geometry, and the forms of trees and shrubs are made to approach the condition of architecture.
	www.wga.hu /bio/p/poussin/biograph.html (1056 words)

	Nicolas Poussin (Site not responding. Last check: 2007-10-20)
		Poussin was of peasant extraction, born near Les Andelys, Normandy (Normandie), in June 1594.
		Poussin journeyed to Paris in 1640 with some reluctance, although the trip earned him the enduring patronage of wealthy bourgeois collectors and also cemented his relations with the French Académie Royale, which later elevated his style to the status of formal doctrine.
		Poussin's belief that art should appeal to the mind rather than to the eye—that it should present the most noble and serious human situations in an orderly manner devoid of trivial detail or sensuous allure—became the basis of the French academic style of the 17th century.
	artistbios.everestwebworks.com /Poussin.html (470 words)

	Poussin's Humour
		Poussin certainly exploits this peculaiirty of the result of immobility in painting in the 'Death of Germanicus' and both the 'Extreme Unction' paintings, of which he noted, Apelles liked to paint a 'transis', someone in transition from life to death, determinable in the paintings by many circumstances, an the responses of the many surrounding figures.
		Poussin draws attention to the variety of the figures in his letter to Chantelou concerning the picture, in which he proposed that the picture should be read figure by figure.
		Poussin chose to represent this onlooker as a mature man, presumably to show that the action of the young woman was remarkable even to a man of his experience.
	tony_green.typepad.com /pouhu (14809 words)

	Nicolas Poussin (1594-1665) \| Special Topics Page \| Timeline of Art History \| The Metropolitan Museum of Art (Site not responding. Last check: 2007-10-20)
		What Poussin brings to the picture that we would not expect to find in a similar work by Titian is its intimacy (due in part to the small scale) and a very tender poetry.
		Poussin's sight was weakening during the years he produced his late landscapes, and they have an almost pointillist technique, which is particularly well suited to their subject matter.
		Sometimes associated with an uncompromising, almost ascetic formalism, Poussin's art is, in fact, a marriage of poetry and reason, sensibility and intellect, a balance of two aspects of one character.
	www.metmuseum.org /toah/hd/pous/hd_pous.htm (1959 words)

	NICOLAS POUSSIN:
		Poussin on the other hand, art may be compared to Virgils Golden Bough which no man may find or pluck unless he be guided by Destiny.
		Poussin depicted figures in the midst of emotional emergency and clash of passions.
		Poussin described in a letter to his friend and patron Chantelou his desire for structure and his wish to express the passion(Merot, page 39) of a humans essence to tempt the viewer to look beyond the immediate surface of the painting.
	www2.students.sbc.edu /aneralla03/Poussin2.html (1947 words)

	The “High Art” of Nicolas Poussin by Karen Wilkin
		Poussin is a classicist for whom the aesthetic values of antiquity represent not only a formal ideal but also a moral imperative, a way of conceiving of form that cannot be separated from the good and the true.
		Poussin’s early paintings, such as the ravishing Shepherds of Arcadia (Chatsworth), the idyllic Andrians, the seductive Echo and Narcissus (both Musée du Louvre)—in fact, virtually all of the mythological scenes of the late 1620s—owe an enormous debt to the Venetians.
		Poussin seems to have looked carefully, too, at the work of artists closer to his own generation, the Caracci and Domenichino, for example; but whatever his sources, his deep engagement with painting as painting is obvious.
	www.newcriterion.com /archive/13/jan95/wilkin.htm (2207 words)

	Nicolas Poussin -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-20)
		Nicolas Poussin (June 1594–November 19, 1665) was a (The Romance language spoken in France and in countries colonized by France) French (An artist who paints) painter.
		Poussin was the founder and greatest practitioner of (additional info and facts about 17th century) 17th century French classical painting.
		Poussin left no children, but he adopted as his son (additional info and facts about Gaspar Dughet) Gaspar Dughet (Gasparo Duche), his wife's brother, who took the name of Poussin.
	www.absoluteastronomy.com /encyclopedia/n/ni/nicolas_poussin.htm (560 words)

	Nicolas Poussin Online
		There is no point in pretending that Poussin is an easy painter for today's viewers to get at.
		He has the disadvantage, for a coarsely expressionist culture, of being incapable of vulgarity or cheap sentiment.
		All images and text on this Nicolas Poussin page are copyright 2007 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/poussin_nicolas.html (705 words)

	Vallee_Poussin (Site not responding. Last check: 2007-10-20)
		In 1891 Vallée Poussin was appointed as an assistant of Gilbert's at the University of Louvain.
		Vallée Poussin strengthened results proved by Hardy in 1914 which showed that an infinite number of the zeros were on that line.
		Vallée Poussin comments in these letters on the fact, which is of great interest to him, that Luzin used slightly different classifications of the same sets as he had studied.
	www-groups.dcs.st-and.ac.uk /~history/Mathematicians/Vallee_Poussin.html (1607 words)

	Poussin
		Poussin's cautious commitment to serving his king came along incrementally, but with no significant reversal, as the focus of his ideal of the patron became clear in his relationship with Chantelou.
		A deliberate moment of teaching by Poussin is when he recounts to Chantelou the relations between the sounds of the words in Virgil and the emotions expressed; and of course, in the entire discussion of the Modes.
		Poussin had not wanted to paint them (at any rate that is what he says!), but the differences between them is very revealing of how the painter conceptualized the two friendships.
	ranumspanat.com /Poussin_Chantelou.htm (11091 words)

	NICOLAS POUSSIN - LoveToKnow Article on NICOLAS POUSSIN (Site not responding. Last check: 2007-10-20)
		He died on the i9th of November 1665 and was buried in the church of St Lawrence in Lucina, his wife having predeceased him.
		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.
		The frescoes executed by Gaspar Poussin in S. Martino di Monti are in a bad state of preservation.
	www.1911encyclopedia.org /P/PO/POUSSIN_NICOLAS.htm (569 words)

	Poussin in Rome:Foundations of French Classicism
		Poussin was heavily influenced by the classical ideals of Italian art and thrived on the lifestyle in Rome that fostered this mentality.
		Poussin's Italian patron, Marino died soon after his arrival in Italy, but fortunately for Poussin, through Marino's connections, he was recommended to the Cardinal Francesco Barbarini.
		Poussin's love of the city, and France's love of Poussin produced a strong tie that continued into the twentieth century.
	www.etchings.com /erin/files/poussin.html (2476 words)

	Nicolas Poussin (Site not responding. Last check: 2007-10-20)
		Poussin painted at least one other composition depicting Narcissus which is now in the Louvre.
		Poussin was also inspired by Titian's figural poses and would frequently reinterprete them for his own his compositions.
		Poussin returns to the pose of the Narcissus a few years later in the celebrated Empire of Flora, 1631 (Dresden, Staatliche Kunstsammlungen) for his figure of Hyacinth.
	www.hallandknight.com /sales/poussin.html (226 words)

	Encyclopedia: Nicolas Poussin (Site not responding. Last check: 2007-10-20)
		Et in Arcadia ego by Nicolas Poussin The two-dimensional work of art depicted in this image is in the public domain in the United States and in those countries with a copyright term of life of the author plus 100 years.
		Gobelin was the name of a family of dyers, who in all probability came originally from Reims, and who in the middle of the 15th century established themselves in the Faubourg Saint Marcel, Paris, on the banks of the Bièvre.
		Jump to: navigation, search Supporters contend that the Eleventh Edition of the EncyclopÃ¦dia Britannica (1910-1911) represents the sum of human knowledge at the beginning of the 20th century; indeed, it was advertised as such.
	www.nationmaster.com /encyclopedia/Nicolas-Poussin (2833 words)

	Et In Arcadia Ego
		Poussin’s first version of Et In Arcadia Ego – containing the element of drama and surprise on the part of the shepherds that encounter the tomb – being a counterpart to Poussin’s other painting, Midas Washing His Face In The River Pactolus.
		Poussin’s second version of Et In Arcadia Ego – with the element of drama and surprise on the part of the shepherds being eliminated – instead displaying pensive contemplation.
		Poussin's first biographer, Giovanni Pietro Bellori, interpreted Et In Arcadia Ego as: "...the grave is to be found even in Arcady and that death occurs in the very midst of delight".
	priory-of-sion.com /psp/id17.html (1103 words)

	The Adoration of the Golden Calf by POUSSIN, Nicolas
		How Nicolas Poussin the son of a Norman farmer became Nicolas Poussin 'painter-philosopher' in Rome, with 'a mind...as it were naturalised in antiquity', is one of the great triumphs of pertinacity over circumstance.
		Poussin's early period in Italy was barely easier than his years in Paris.
		Poussin is said to have made little figures of clay to use as models, and the story is confirmed by the dancers in the foreground.
	www.wga.hu /html/p/poussin/2/16golden.html (550 words)

	CATHOLIC ENCYCLOPEDIA: Nicolas Poussin
		Poussin presents the strange case of a man isolated in the past and who never descended in history lower than the Antonines.
		POUSSIN'S correspondence in BOTTARI, Raccolta di Lettere (Rome, 1764), and in QUATREMÈRE DE QUINCY, Collection des Lettres de Poussin (Paris, 1824), defective edition, a critical one is in press.
		Studies on Poussin: DE SAINT GERMAIN, Vie de N. Poussin (Paris, 1806); GRAHAM, Memoirs of the life of N. Poussin (London, 1820); BOUCHITTÉ, Le Poussin, sa vie et son oeuvre (Paris, 1858); DELACROIX, Le Poussin in PIRON, Eug.
	www.newadvent.org /cathen/12322c.htm (1695 words)

	Search Results for Poussin - Encyclopædia Britannica
		Poussin's work marks a major turning point in the history of art; for, although it is steeped in the art of the past, it looks forward to that of the future.
		By 1632 Poussin had been elected a member of the Guild of St. Luke in Rome, a mark of official recognition that provides evidence of his growing reputation.
		Poussin continued to paint three or four pictures a year in the 1650s, despite being increasingly ill. Many of these works depict the Holy Family, a purely contemplative theme ideally suited to the...
	www.britannica.com /search?query=Poussin&submit=Find&source=MWTEXT (404 words)

	Nicolas Poussin poster ET IN ARCADIA EGO Rennes-le-Château
		Here Poussin does not portray the simple carefree shepherds who are supposed to inhabit Arcadia, but instead classically formed, sober and dignified figures from antiquity.
		Whilst in Paris the curé was apparently instructed (by persons unknown) to visit the Louvre museum and obtain copies of three paintings: Les Bergers d'Arcadie by Nicolas Poussin, The Temptation of St Antony by David Teniers the younger, and a portrait of Pope Celestine V, artist unknown.
		On the conception of Transience in Poussin and Watteau", Philosophy and History, Essays presented to E Cassirer, Oxford 1936.
	et-in-arcadia-ego.mezzo-mondo.com /poussin-et-in-arcadia-ego.html (3840 words)

	Nicolas Poussin (Getty Museum) (Site not responding. Last check: 2007-10-20)
		Pointing to his forehead, Gian Lorenzo Bernini called Poussin "a painter who works up here." Born to Norman peasants, Poussin went to Paris in 1612, working with Mannerist artists and collaborating with Philippe de Champaigne.
		In 1640 Louis XIII persuaded him to supervise a large decorative project in Paris, but Poussin soon returned to Rome, suited neither for large projects nor for court intrigue and competition.
		Poussin was the chief formulator of the French classical tradition in painting.
	www.getty.edu /art/collections/bio/a363-1.html (262 words)

	Nicolas Poussin -- Britannica Concise Encyclopedia - Your gateway to all Britannica has to offer! (Site not responding. Last check: 2007-10-20)
		Initially reluctant to be uprooted from Rome, he was repeatedly pressured by Richelieu to heed the king's command and eventually arrived in the French capital in December 1640.
		Artist Nicolas Poussin introduced a style of painting known as pictorial classicism during the baroque period of French art.
		Although he was French by birth, Poussin spent most of his working career in Rome.
	concise.britannica.com /ebc/article-9375760 (755 words)

	Nicolas Poussin
		Nicolas Poussin, one of France’s famous artists in art history spent most of his time in Rome where he influenced by Raphael, and Titian's rich, colorful, classical mythology.
		Poussin has solved the problems in the earlier painting mentioned above.
		Nicolas Poussin's painting actually is not about the funeral and is not a story-telling device.
	www.arthistory-famousartists-paintings.com /NicolasPoussin.html (531 words)

	David Carrier: Poussin's Paintings
		Carrier examines the traditional approaches of Poussin scholars, noting the limitations of their views and showing how they not only shape our image of the artist but also restrict out ability to properly grasp his concerns.
		He asserts that artists of the time were concerned with the problem of belatedness and that Poussin attempted to return to the tradition of the High Renaissance, reworking images from that tradition in response to his own visual culture.
		Carrier argues that Poussin's art is thus best understood as a response to that setting for baroque art, and he relates Poussin's work to the later tradition of French history painting.
	www.psupress.org /books/titles/0-271-00816-4.html (298 words)

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