Nicolas Poussin was substantial influence on the Neoclassicism period which started after the peak in his career. Although demonstrated through multiple pieces throughout his career, these five different artworks show us the best evolution in his style, as well as the sophistication of his work from 1627-1658.
Nicholas put together these pieces before Neoclassicism truly took off in the 1700s, and yet his contributions to the time period are immense because of the attention he gives to the formal principles prioritized by neoclassicism artists later on in the century. The consistency of his medium, oil on canvas, only helps draw our attention to the selections made in content, and accentuates different formal elements.
Nicholas’s The Abduction of the Sabine Women, estimated to be released around 1633/34, fits into the larger timeline of his pieces, content wise because it reflects the Neoclassicism, with Roman, Greek, and Biblical narratives. If we look at Nicholas’s style, we see this piece fits with the color palette selections, with warm hues of primary colors that simultaneously blend and enhance each other. Another principal that he capitalizes on is the formal element of line, which is not only in the subconscious lines. We see line by tracing the gaze of various figures, but also in the horizon lines, drawing our attention back into the space of the landscape, completing the scene the narrative plays out.
When observing Nicolas Poussin's other artworks that were released between 1627-1658, are you also drawn to see the formal elements that Nicholas used to promote the Roman, Greek, and Biblical narratives?
Title: The Holy Family with Saint John the Baptist
Artist: Nicolas Poussin
Date: 1627
Medium: Oil on canvas
Dimensions: 30 x 25 in. (76.2 x 63.5 cm)
Accession Number: 1997.117.6
The first painting in our exhibit is the Holy Family with St. John the Baptist, released in 1627, this oil on canvas painting reflects a combination of a Biblical narrative, and Roman symbolism. The Romans symbols being the cherubim picking fruit at the top of the tree. Whereas the Biblical symbols Nicholas includes are apples, connecting to the garden of Eden, and grapes, connecting to communion, these two fruits, symbolizing salvation. We see the formal element of line through Mary’s gaze towards the children in the bottom, right hand corner, and if the pigments in the painting had not been damaged, we would see the contrast in the clothing, the skin, tone of the figures, and the sky behind them.
Title: The Companions of Rinaldo
Artist: Nicolas Poussin
Date: 1633
Medium: Oil on canvas
Dimensions: 46 1/2 x 40 1/4 in. (118.1 x 102.2 cm)
Accession Number: 1977.1.2
In this piece, the companions of Rinaldo, released in 1633, Nicholas uses a narrative from the crusades, focusing on Roman military attire decorate the Christian nights, slaying a dragon. We see how Nicholas continues his fascination with Greek and Roman themes, while experimenting with blending other narratives. we see the formal element of line in the men’s gaze towards the dragon and the color contrast between their garments and the landscapes surrounding them.
Title: The Abduction of the Sabine Women
Artist: Nicolas Poussin
Date: Probably 1633–34
Medium: Oil on canvas
Dimensions: 60 ⅞ in x 82 ⅝ in
Accession Number: 46.160
In this painting, The Abduction of Sabine women, probably released in 1633 or 1634, we see how Nicholas continues utilizing the formal elements of line with our attention, being drawn to the chaos of the fighting, the figure in the top left, looking down at the collective, and the horizon line showing the city. We also see the color contrast in the figures' attire, the bland architecture, and the blue sky necklace continues to use familiar narratives; the Romans were very familiar with this story.
Title: Saints Peter and John Healing the Lame Man
Artist: Nicolas Poussin
Date: 1655
Medium: Oil on canvas
Dimensions: 49 1/2 x 65 in. (125.7 x 165.1 cm)
Accession Number: 24.45.2
In this painting, Saints Peter and John Healing the Lame Man, Nicholas is using a familiar biblical narrative, however, unlike previous paintings, his style evolved and he used ideas by high Renaissance artists (you can note the difference in the figures compared to the previous three paintings with facial details, being more rigid and intense, as opposed to round and soft). This was used to influence and launch him forward, while still incorporating the familiar principles of line. Through the Horizon line in the back of the figures opening up the space of the sky, and Roman architecture in the background, well also, shooting our attention to each of the groups on the stairs. The formal element of color is also presented because of the intense brightness in the clothing of the figures, compared to the more muted palette of the architecture behind them.
Title: Blind Orion Searching for the Rising Sun
Artist: Nicolas Poussin
Date: 1658
Medium: Oil on canvas
Dimensions: 46 7/8 x 72 in. (119.1 x 182.9 cm)
Accession Number: 24.45.1
The last painting described in this collection is, the Blind Orion Searching for the Rising Sun. This has the most dramatic style shift, compared to the other paintings in the collection. Instead of a style shift away from neoclassicism to high Renaissance, Nicholas shifts in this piece, to emphasizing the landscapes in his painting. Previous landscapes by Nicolas have been the background for the figures in the narrative, this piece, the landscape is the focus with figures in it. We see the formal elements of line, as Orion is faced into the painting with a Greek god on his shoulder, pointing into the landscape. We see the formal element of color in the contrast of the lush, green forestry, and the bright blue sky, where the figure of Diana watches Orion.
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