Word: poussins
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Some of the greatest art is ineloquent. It does not argue or get into expressive tangles. Most of La Tour's surviving work lies on this latitude of the imagination, sharing it with other purifiers of experience: Piero della Francesca, Poussin, Cézanne. Its fundamental condition, the mood of La Tour's key paintings, is a kind of analytical silence: a stillness that mediates between the logic of Descartes and the mysticism of Pascal, both of whom were La Tour's approximate contemporaries. To see the candle flame play on the faces of La Tour...
...painting. Artists as diverse as Dan Flavin, Kenneth Noland, Clement Meadmore and Alexander Liberman had been deeply affected by the radical openness of his art and his brave, grumpy polemics. Granted obvious differences of context and emphasis, Newman's work had acquired much the same ethical role as Poussin's did for young painters in the 17th century, or Ingres' in the early 19th. This month, Newman is saluted by a full-scale retrospective at the Museum of Modern Art, accompanied by an admirable monograph written by Thomas Hess, editor of Art News...
...French to be slighted when it comes to printmaking. Nicolas Poussin, Edouard Manet, and Ingres point out the diversity of techniques within any nation of artists. Ingres, a noted draftsman, excels even the Dutch in precision of detail. Poussin still tells classic and mythological narratives (The Infant Bacchus Entrusted to the Nymphs), but Manet, one of the fathers of Impressionism concerned with the science of how the eye saw, sketches a woman, flattened, on photographic paper, perhaps borrowed from the great French photographer of the time, Nadar, whose studio housed the first Salon des Impressionistes...
...Ruins: the title is on dozens of paintings. The image that pervaded European landscape painting for centuries was nearly always of an idealized Rome with its wrecked marble and Arcadian countryside. Curiously enough, the three artists who did most to fix its shape were not Italian but French-Poussin and Claude in the 17th century, Corot in the early 19th. But other French painters, not chiefly known as landscapists, also set down their impressions of that tawny city in which history lay preserved as in amber. None worked with a more impassioned delight than the master whose name...
...past, to be German painters. But in 1800, modern art meant neoclassicism, and that meant Rome. One of the first on the trek to Italy was Joseph Anton Koch, who headed south in 1794. There is an almost schizophrenic gap between his early landscapes, conceived in reverent imitation of Poussin, and a later painting like Macbeth and the Witches (1834). It is a full-blown response to Goethe's Sturm und Drang, with its flailing energies of cloud and sea, its Gothic spikiness, and its perverse adoption of Michelangelo's image of God on the Sistine ceiling...