Word: poussins
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Dates: during 1980-1989
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...POUSSIN: THE EARLY YEARS IN ROME, Kimbell Museum, Fort Worth. The first major exhibit in North America devoted to the 17th century master who was the father of classical French painting...
...Frenchman enter it? A writer could read Vergil without leaving Paris, but a painter had to go to Rome. There, ancient sculpture and architecture abounded; from them, antiquity could be reimagined. It was the strength of the reimagining, not just its archaeological correctness, that counted. Poussin's main regular job during his Roman years was drawing records of ancient sculpture for a rich antiquary and scholar named Cassiano dal Pozzo. This gave him excellent access to collections, and the time to develop the repertoire of figures that would fill his work in years to come. Rome was not just...
...style of Gericault nearly 200 years later) but also his little son, whose blue cloak matches the general's; the women suffer, but the boy learns, remembers and will act. The more Germanicus unfolds, the more one realizes why Bernini, on his visit to Louis XIV in Paris, declared Poussin to be the only French artist who really mattered: un grande favoleggiatore, "a great storyteller...
Later in life Poussin would complain of the pressure of commissions. "Monsieur, these are not things that can be done at the crack of a whip," he wrote to his friend and patron Chantelou in 1645, "like your Parisian painters who make a sport of turning out a picture in twenty-four hours." But in his Roman youth, he could and did turn them out, and it would be idle to pretend that all early Poussin is on the same level. Some paintings are much less "finished" than others. A few are hackwork (such as Hannibal Crossing the Alps, done...
...POUSSIN: THE EARLY YEARS IN ROME, Kimbell Museum, Fort Worth. The first major show in North America devoted to the 17th century master who was the father of classical French painting. Through...