Word: poussins
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Dates: during 1990-1999
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...fall event of the French museums is the retrospective of Nicolas Poussin at the Grand Palais in Paris, marking the 400th anniversary of the painter's birth. The visitor is warned: this is not an easy show, and given the queues outside and the crowds within, it taxes the concentration of even the hardiest gallerygoer. It contains 245 paintings and preparatory drawings -- a fearsome demonstration of the borrowing power of Pierre Rosenberg, the show's chief organizer, who runs the Louvre's department of paintings. One may even wonder whether it is addressed to a general public...
Shearman has written major books on Raphael,Leonardo, Andrea del Sarto, Nicholas Poussin andFra Bartolommeo, as well as having cataloguedQueen Elizabeth II's early Italian paintingcollection...
...portrait of Stalin in the literal form of the Pantocrator, contemplating a new world he has brought into being. He wears a white coat of radiant purity and is bathed in the light of an early spring morning. Behind him stretch the green pastures of a transfigured Russia, Poussin (as it were) with tractors and electricity pylons, and shy plumes of smoke rising to greet the socialist dawn from far-off factories. As Dante wrote, in God's will is our peace. No future Chernobyls here...
...describe as plum but less charitable observers call degueulis d'ivrogne (loosely translated as regurgitated wine). Here the magnificent Flemish collection, featuring works of Van Eyck, Van Dyck and Bruegel, ultimately prevails. And so does the ingenuity of Pei's layouts, which is evident throughout the painting galleries. For Poussin, Pei designed a special octagonal room to show off the famous Seasons series. And for the 24 oversize Rubenses commissioned by Marie de Medicis in the 1620s, Pei designed what is the stunning centerpiece of the Flemish section: a 130-ft.-long chamber with a vaulted ceiling and almond- green...
...less interested in "locked" and unified structures than one thinks. The ring of figures in Dance (II), 1909-10, refers back to a long tradition of representations of Bacchanalian dances, from the ancient Greeks through to Poussin. The color is almost as simple and emblematic as that of an Etruscan vase: blue sky, green billowing earth, red flesh inflected with deeper, Indian-red drawing. It could not be more vivid or explicit, or better attuned to the fresco-like scale of the canvas. And yet how provisional these dancers seem, compared with their ancestors; how deliberately imperfect, within the brusque...