Word: poussin
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Dates: during 1980-1989
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...America have been the golden age of the museum retrospective, bringing a series of great and (for this generation of museums and their public) definitive exhibitions, done at the highest pitch of scholarship and curatorial skill: late and early Cezanne, Picasso, Manet, Van Gogh, Monet, Degas, Watteau, Velazquez, Poussin, up to MOMA's current show of Picasso's and Braque's Cubist years and, perhaps, Seurat to come...
...Room of Psyche, the physical effervescence and the characters of the picnicking gods are set forth as explicitly as in a Roman pantomime, and one can easily see why Giulio had such an influence on Rubens and Poussin. Lusting, half-tipsy, bare bottomed and prone to fits of hilarity and rage, Giulio's Olympians cavort and cuckold one another across the walls to the accompaniment of all manner of phallic puns. When sword-brandishing Mars is seen pursuing Adonis, whom he has just caught in flagrante with his wife Venus, even the antique statues in the background display their truncated...
...both financed by the King, who had some difficulty getting him back -- the first time because Velazquez had gone into an ecstasy of discovery (Rome, in 1630, was the world's capital of contemporary as well as ancient art, and the young artist was absorbing the lessons of Caravaggio, Poussin and Guido Reni), and the second time because Velazquez, now in his 50s, was basking in his European reputation. And in between, nothing but security and hard work...
...Wife that Reni could endow human figures with a Caravaggio-like density and passion while pointing the way for a classicism still to come. The figure of Joseph, moving away in its sandals and serene quadrant of ocher cloak, might be striding toward his eventual home in one of Poussin's paintings...
This adamant adherence to his own artistic vision paralleled his egotism, which, even at a young age, was noted by his fellow schoolmates. Though his unquestionable talent was admired by Rembrandt as well as the great French painter Nicolas Poussin, Testa's proud and aloof nature often made him the stereotypical outsider artist. As Professor Cropper points out in the exhibit catalog, Testa's vacillating career and his eventual suicide fostered the "myth of a wild uncontrolled romantic spirit." This myth, too, hurt the popularity...