Word: poussins
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Dates: during 1980-1989
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...Nicolas Poussin (1594-1665) was the greatest French artist of the 17th century, the founder of his country's classical school. With him, French painting shook off its provinciality and became a European affair, mirroring the power of its grand siecle, the age of Louis XIV. After Poussin, Rome could no longer condescend to Paris. But without Rome there would have been no Poussin: Rome formed and trained him, gave him his conception of professional life, his myths, his essential subjects, his sensuality and measure -- in short, his pictorial ethos...
...first went there in 1624 and stayed 16 years. What did he see? What did he do? Amazingly enough, no U.S. museum until now has tried to tell us: there has never been a Poussin retrospective in this country, even though some of his greatest works are in American collections. But now the gap has been filled. Through Nov. 27, "Poussin: the Early Years in Rome," containing 36 paintings and 58 drawings by the master, is on view at the Kimbell Art Museum in Fort Worth. The show comes with a detailed, argumentative and altogether excellent catalog...
...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...
Stuck with the emptiness of a foregone conclusion, Vidal improvises diversions to fill in the space. One involves Caroline Sanford's battle with her half brother Blaise over their late father's $15 million estate. Temporarily blocked from her share, Caroline sells four Poussin paintings, buys a money-losing Washington newspaper, and spices it up with sensationalisms a la Hearst, the man whom Blaise admires as "something new and strange and potent." Hay muses, "The contest was now between the high- minded few, led by Roosevelt, and Hearst, the true inventor of the modern world. What Hearst arbitrarily decided...
Scratch almost any great 17th century painter except Poussin, and traces of Caravaggio will appear. The vivid, tragic piety of his work after 1600 was fundamental to baroque painting. Without his sense of humble, ordinary bodies lapped in darkness but transfigured by sacramental light, what would Rembrandt have done? Caravaggio was one of the hinges of art history: there was art before him and art after him, and they were not the same. No wonder that he is now the artist that many new painters, in an age without authentic culture heroes, pine...