, Bouyed by this commercial success, Poussin bought a life interest in a small house on Via Paolina for his wife and himself in 1632 and entered his most productive period. " Cézanne was described in 1907 by Maurice Denis as "the Poussin of Impressionism". It has been a frequent subject of artists and sculptors, particularly during the Renaissance and post-Renaissance eras. Then, as he would vary the position of the figures, Poussin would replace the little nude figures with larger ones clad in tissue robes and cloaks. They established themselves as portraitists as well â¦ He was unable to complete the painting because of the trembling of his hand, and the figures on the right are unfinished. , Cardinal Barberini and Cassiano dal Pozzo returned to Rome in 1626, and by their patronage Poussin received two major commissions. He painted the Massacre of the Innocents for the Banker Vincenzo Giustiniani; the jewel thief and art swindler, Fabrizio Valguarnera, bought Plague of Ashdod and commissioned The Empire of Flora. "Poussin peintre: retrospectif". , He lived an austere and comfortable life, working slowly and apparently without assistants.  Despite its adherence to the pictorial idiom of the day, for unknown reasons, the Martyrdom of St. Erasmus seems to have met with official displeasure and generated no further papal commissions. The eminent scholar and critic Louis Marin considered the paintings and the writings of Nicolas Poussin (1594-1665) an enduring source of inspiration, and he returned to Poussin again and again over the years. Drawing techniques: Poussin's working techniques were far different from those of his contemporaries. Baroque and Rococo . What I don't accept is the classicism that limits you. The Fabricca di San Pietro had originally awarded the commission to Pietro da Cortona, who had produced only preliminary designs for the altarpiece when he was unexpectedly transferred to another project. Poussin was deeply interested in the classical era of art, architecture, history, and philosophy and sought to include aspects of these in his work. His enthusiasm for the Italian works he saw in the royal collections in Paris motivated him to travel to Rome in 1624, where he studied the works of Renaissance and Baroque painters—especially Raphael, who had a powerful influence on his style. One of his greatest admirers was Ingres, who studied in Rome and became Director of the French Academy there. , The Miracle of Saint Francis Xavier, 1641, Louvre, Time defending Truth from the attacks of Envy and Discord, for the study of Cardinal Richelieu, 1642, Louvre, Frontispiece for the works of Virgil for the royal printing house, 1641, Metropolitan Museum, As the work of Poussin became well known in Rome, he received invitations to return to Paris for important royal commissions, proposed by Sublet de Noyers, the Superintendent of buildings for Louis XIII. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. The first series was painted in Rome by his major early patron, Cassiano dal Pozzo, and was finished in 1642. There he saw for the first time engravings of the works of Giulio Romano and especially of Raphael, whose work had an enormous influence on his future style. , He first tried to travel to Rome in 1617 or 1618, but made it only as far as Florence, where, as his biographer Bellori reported, "as a result of some sort of accident, he returned to France. The foliage in his trees and bushes is very carefully painted, often showing every leaf. Thanks to the assistance of a chef, Jacques Dughet, whose family took him in and cared for him, he largely recovered by 1629, and in 1630 he married Anne-Marie Dughet, the daughter of Dughet. The painting The Death of Saphire uses this setting to illustrate two stories simultaneously; in the foreground, the wife of a wealthy merchant dies after being chastised by St. Peter for not giving more money to the poor; while in the background another man, more generous, g