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, gives alms to a beggar. In his later paintings, however, Poussin used darker colors and eddying cloud forms to represent more volatile weather conditions. The enormously influential and often reviled painter Nicolas Poussin is, like most artists, rather misunderstood. "Art View; Back and Forth Between Poussin and Cezanne", A 16min educational film about Nicolas Poussin, "The Baptism of Christ, by Nicolas Poussin (cat. For this artist, the pose, gesture and facial expression of each and every figure was meaningful, and essential to the expression of the art work's overall meaning.Poussin thus carefully studied the pose for each of his painted figures, using the appropriate "rhetorical gesture" as devised by the Classical orators. His first successful painting in Rome, The Death of Germanicus, was based upon a story in the Annals of Tacitus. Perhaps more than any other artist of the Baroque, Poussin obsessively theorized about his art, painstakingly planning every detail of his composition in order to create maximum impact. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. "Imagine how Poussin entirely redid nature, that is the classicism that I mean. This page was last edited on 15 December 2020, at 23:25. , Giambattista Marino, the court poet to Marie de Medici, employed him to make a series of fifteen drawings, eleven illustrating Ovid's Metamorphoses and four illustrating battle scenes from Roman history. In 1627, Poussin painted The Death of Germanicus (Minneapolis Institute of Arts) for Cardinal Barberini. Nicolas Poussin (French: [nikÉlÉ pusÉÌ]; June 1594 â 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. He studied the Antique as well as works such as Titian’s Bacchanals (The Bacchanal of the Andrians, Bacchus and Ariadne, and The Worship of Venus) at the Casino Ludovisi and the paintings of 