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 :. | et in arcadia ego | Realm of Flora | Landscape with the Funeral of Phocion | E-cho and Narcissus | Et in Arcadia Ego |
Related Artists:
Edwin Blashfield
(December 5, 1848 - October 12, 1936), an American artist, was born in New York City. He was a pupil of Leon Joseph Florentin Bonnat in Paris beginning in 1867, and became (1888) a member of the National Academy of Design in New York. For some years a genre painter, he later turned to decorative work, where his academic background in painting and extensive travels to study fresco painting in Italy melded in work marked by rare delicacy and beauty of coloring. Considered a leading muralist of the late 19th century, he painted mural decorations or created mosaics in a number of places associated with the American Renaissance period. His style is cited as an influence of Pierre Puvis de Chavannes, Jean-Paul Laurens, and Paul Baudr. With his wife he wrote Italian Cities (1900) and edited Vasari's Lives of the Painters (1896), and was well known as a lecturer and writer on art. He became president of the Society of Mural Painters, and of the Society of American Artists.
ORRENTE, Pedro
Spanish Baroque Era Painter, 1580-1645 Spanish painter. He is one of the most interesting artists of his day. His father, Jaime Orrente, was a merchant from Marseille, his mother, Isabel Jumilla, from Murcia. By 1600 Orrente was active in Toledo, where he was commissioned to paint a retable (untraced). In 1607 and again in 1611 he was in Murcia, and a journey to Italy recorded by Jusepe Mart?nez and Palomino must have taken place between those years. It seems certain that he visited Venice and met Leandro Bassano
Johan Barthold Jongkind
Dutch Impressionist Painter, 1819-1891 was a Dutch painter and printmaker regarded as a forerunner of Impressionism who influenced Claude Monet. Jongkind was born in the town of Lattrop in the Overijssel province of the Netherlands near the border with Germany. Trained at the art academy in The Hague, in 1846 he moved to the Montmartre quarter of Paris, France where he studied under Eugene Isabey and Francois-Edouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Emile Zola. Jongkind was to experience little success, however, and he suffered bouts of depression complicated by alcoholism. Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he befriended the young Claude Monet who later referred to Jongkind as the "master." The following year Jongkind exhibited at the first Salon des Refus's. Despite several successes, in another of his down periods the Impressionist group did not accept his work for their first exhibition in 1874.