Su3150-3151[1965.1-11] "World Cultural Celebrity" 2 All 2-2 "The 300th Anniversary of the Death of the Famous French Painter Nicolas Poussin: Poussin Self-Portrait"
Nicolas Poussin (1594–1665) was born in Lesandries, Normandy, western France, to a family of retired military personnel who ran small lands. Growing up poor, his father hoped that his only son would become a lawyer, but he became obsessed with painting. Eventually, Poussin became an important painter of the French Baroque period in the 17th century and the founder of French classicist painting in the 17th century. He admired the Renaissance masters Raphael and Titian, and was fascinated by the study of Greek and Roman cultural heritage. Most of Poussin's work is based on mythology, history, and religious stories. Although the canvas is not large, but carefully carved, and strive for strict sketches and perfect composition, the character shape is solemn and elegant, full of sculptural sense; the composition of the work is serious and philosophical, with stable and quiet and sublime artistic characteristics, his paintings contain deep affection in the coldness, you can peek into the painter's calm thinking.
Artistic characteristics of Nicholas Poussin
Poussin's artistic career was spent almost exclusively in Italy, and his life was full of joy and despair, but no matter what period it was, he was always rational. Poussin's ideals are lofty, but contradictory to the harsh reality, although he failed to directly use art to reveal social contradictions, but used allegorical and tortuous classical artistic expressions to condemn all irrational and ugly phenomena, which determined the positive significance of his art, but after all, it was a reality far from the motherland, his artistic creation had inevitable limitations, and his art had a huge impact on future generations of French painters, Cézanne said: "Every time I return from Poussin, I know more who I am." ”
Poussin's artistic qualities determined that he chose some painting subjects with a "sublime style", and the figures he painted were also shaped according to the greek and Roman carved images. He believes that the value of these images is that they conform to a kind of "model", so the characters he paints never come from actual life. Most of Poussin's work draws on mythology, history, and religious stories. The canvas is usually not large, but it is meticulously crafted, striving for the perfection of strict sketches and compositions, the character shapes are solemn and elegant, full of sculptural sense; the composition of the works is serious and philosophical, with stable and quiet and sublime artistic characteristics, and his paintings contain deep affection in the coldness, which can peek into the painter's calm thinking. If Francisian national painting was formed in the 17th century, then Poussin can be said to be the "father of French painting".
Artistic achievements of Nicholas Poussin
As a master of classicism, Poussin had a profound influence on the history of French painting: Delacroix appreciated his bold originality, David and Ingres inherited his rigor and simplicity, and Cézanne benefited from his intellect. Poussin's artistic career was spent almost exclusively in Italy, and his life was full of joy and despair, but no matter what period it was, he was always rational.
Poussin's ideals are lofty, but contradictory to the harsh reality, although he failed to directly use art to reveal social contradictions, but used allegorical and tortuous classical artistic expressions to condemn all irrational and ugly phenomena, which determined the positive significance of his art. His supremacy in the 17th-century French painting scene is unparalleled. If Francisian national painting was formed in the 17th century, then Poussin can be said to be the "father of French painting".
Representative works by Nicholas Poussin
The shepherds of Arcadia, Gabriel by the well, the holy family on the steps, the inspiration of the poets, the seven sacraments, the judgment of Solomon, the funeral of Fossaion, the seasons, satyr and the goddess of the mountains and waters, the kingdom of the flower god
Nicolas Poussin, France, The Shepherd of Arcadia, oil on canvas, 85 cm in length× 121 cm in width, in the collection of the Louvre, Paris.
This painting is a representative work of Poussin. "Arcadia" is a happy land in Greek legend. The three shepherds in the picture are identifying the words on the tombstone: I used to live in Arcadia. They seem to be exploring, like philosophers, the eternal theme of life and death. A woman dressed in ancient Greek costume stood quietly beside the shepherd like a marble statue, she was an allegorical image, symbolizing creation and nature, and was calmly placing her hand on the shoulder of a shepherd, as if to say: Man is not immortal, even in Arcadia, death is an inevitable fate, this is the law of nature. The work is extremely philosophical, full of solemnity, depth and solemnity. The "death" explored by the painter is not sad and terrifying, but full of poetry. He wants to arouse the conscience of mankind through his art.
Alcadia is a blessed place in Greek legend, and Poussin painted two paintings of the shepherds of Arcadia, one slightly smaller, showing the shepherds discovering tombstones and the horror of death invading their happy world. The smooth composition of this work, the tragic golden tones are soft and brilliant, and the profound philosophy is embodied in the beautiful poetry, which not only represents the highest achievement of Poussin art, but also a model of French classicist painting.
Nicolas Poussin, France, Dionysus In Front of the Statue, oil on canvas, 100 cm in length× 142.5 cm in width, National Gallery, London.
Inspired by Titian's Dionysian Festival, Poussin constructed the ideal scene. The composition of this painting has three main lines, the first is a diagonal line from the trunk of a tree to a fairy falling to the ground, the second is a vertical line composed of a deity and the leaves behind it, and the third is a horizontal line connecting the dancers on the first level with the sky on the background, distant mountains, and plains. The work is full of poetry, the characters are more unrestrained and rough, this is one of Poussin's most romantic works.
Nicolas Poussin, France, Robbery of Sabine Women, oil on canvas, 154.6 cm in length× 209.9 cm in width, in the collection of the Louvre, Paris.
This oil painting is based on the depiction of historical and mythological images to express the classical artistic principles to which the painter aspired. The whole painting is magnificent, the colors are rigorous, the characters are handled properly, the composition is more balanced, the image shaping is also very beautiful, the momentum is condensed, and it is full of passion. A Roman on the left is holding a Sabine woman in his arms. The woman's limbs were moving wildly, frantically struggling, trying to break free from his powerful arms. To reinforce this group of figures, the painter added a messenger in red to their left. He seemed to stand calmly, watching this barbaric plunder. An old man on the right holds the furious Roman soldier in an attempt to stop him from killing the baby that has been thrown to the ground. The baby's mother was pushed to the ground, but she still weakly blocked the murderous slaughterer with her naked upper body with her arms. There is a gap in the middle scene, and the battle of slaughter and resistance is unfolding in all directions. In this way, the viewer can see the whole situation of the various looting scenes. This is a great struggle between human nature and animal nature, a picture of the national war driven by desire in ancient times.
The work of Nicolas Poussin, the father of French painting, is mostly based on myths, histories and religious stories. Although the canvas is not large, but carefully carved, and strive for strict sketches and perfect composition, the character shape is solemn and elegant, full of sculptural sense; the composition of the work is serious and philosophical, with stable and quiet and sublime artistic characteristics, his paintings contain deep affection in the coldness, you can peek into the painter's calm thinking. Poussin applied classical formal beauty to his own creations, trying to achieve unity, harmony, solemnity, elegance and perfection.
Nicholas Poussin, The Shepherd of Arcadia
Nicholas Poussin's famous "The Shepherd of Arcadia" has an obscure meaning and has always been an unfathomable and difficult work in the history of art. "Arcadia", that is, a paradise-like "paradise" in ancient legends. Picture: A quiet wilderness, the sun shining in front of a cemetery with only a few deserted trees; a clear blue sky in the background. Four shepherds, wearing flower crowns and each holding a staff, were reading the inscription around a tombstone. The Latin inscription on the stone reads: "Even in Arcadia there is me." The "I" here refers to "death." At that point, the inscription seems to mean, "Death is inevitable in a good land." Obviously, this is a kind of exclamation that "although the scenery is good, life is short". Through the brush, the painter composes an unrealistic pastoral song with a sad mood.
The expression of a shepherd on the left who is lying on the top of the tomb looks at the expression of a shepherd who bows his head, as if with a sense of remembrance, in contrast to the female shepherd standing on the right. On the left, a bearded shepherd kneels and reads the inscription on the tablet.
The red-clad shepherd on the right points to the inscription and turns back to say something to a female shepherd on the right. The figure (4) The woman wearing a yellow dress and blue dress on the right side is the most abrupt color in the whole painting, which undoubtedly adds a touch of bright color to the picture. She is a symbol of a good life, and although she bows her head and listens silently to the inscription, she gives a sense of comfort. The bright color of the woman and the heaviness of the male shepherd constitute a figurative emotional contrast, and make people's depressed mood breathed a breath, after all, there are still bright colors in life. The woman's calm expression tells us: "Why should death be afraid?" After all, Arcadia is the place of the world's yearning. ”
This unrealistic pastoral sadness, to a certain extent, reveals the painter's situation at that time and his vision of art. The costumes of the figures are modeled on the Greek carving style. Poussin's The Shepherd of Arcadia is a quiet and philosophical work by which the painter expresses that there is death in the Promised Land, that the happiness of life is extremely fragile and that creation is the eternal melancholy thought. The expression is silent, solemn, with the Western ancient style of the shepherd, the quiet scenery, the heavy tombstone, the deep and difficult words, the life inquiry like the yellow bell, the gray-brown tone. Everything in the picture makes this melancholy and sad atmosphere reach its peak.
Poussang,"The Death of Gmanikus"
The Death of Gemanikus was commissioned by Cardinal Barberini and featured prominently in Poussin's painting career, and is hailed as one of his most famous and revered works. The Swiss painter Henry Fosley, who was active in England, wrote in 1798: "Even if Poussin had not created any other paintings, he would probably have gained an immortal reputation with this work." The painting was the first work by Poussin to depict a tragic historical scene of classical, ancient sublime, and since then, this has become a subject for the painter to excel. In this painting, Poussin not only depicts the dignity shown by Gmanikus when he was on the verge of death, but also sings the sincere fraternity of loyal subordinates who mourn the death of their master and swear revenge.
Nicholas Poussin, "The Poet's Inspiration"
The Soul of a Poet marks the formation of Poussin's artistic style. The painting "The Poet's Inspiration" shows his romantic classical temperament, and he has long lost interest in the joyful pastoral scenes and replaced it with reflections on the quiet art world. The composition of this work is smooth, rigorous and dignified, and the color treatment of large flat paintings creates a rare sense of great solemn silence, which has the typical characteristics of classical idealism. Apollo, the sun god, was the god of light, youth, medicine, animal husbandry, music, and poetry. The muse was also often with him. Poussin's depiction of these figures as symbols of poetry and music is precisely the expression of his admiration for classical art.
In the center of the painting sits the mythical and legendary sun god Apollo. He is a physically strong young shepherd wearing a laurel crown, a memento of his failure to pursue daphne, the goddess of laurel. Apollo fell in love with Daphne, and Daphne turned into a laurel tree. Apollo plucked the laurel leaves and woven them into a laurel crown, thinking that he was nostalgic. In his right hand he also held a ship obtained from Hermes, the messenger of the gods, who was ordering one of his muse, Eutheppo, to write down the inspired verses in his heart. The muse, who had memorized the verse, seemed to have realized something and was looking up at the sky. The angel and another muse gathered around him, expecting Apollo's fountain of inspiration.
Poussin "Rinado and Amida"
The picture depicts the story between the Crusader hero Rinardo and the brave and beautiful witch Amida in Saracen's army. In this painting scene, Leonardo, who has been sleeping by magic, is completely defenseless, and Amida falls in love with him at the first sight. The painting is one of the strongest elements of Poussin's poetry, with its rich colors and free brushwork emphasizing the passionate character of the subject.
Poussin's works are full of deep thought and symbolism, supplemented by depictions of natural scenery, and the atmosphere of the paintings is subtle and serene, full of idyllic lyricism. The colors are exquisite and flexible, often using soft tones to express the ethereal and harmonious nature of the divine world, and the works exude a gorgeous and aesthetic but extremely restrained classical style. If Francisian national painting was formed in the 17th century, then Poussin can be said to be the "father of French painting". As a master of classicism, Poussin had a profound influence on the history of French painting: Delacroix admired Poussin's bold originality, David and Ingres inherited his rigor and simplicity, and Cézanne benefited from his intellect.