Word: poussins
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...just toward the Baroque, but toward us. The force and immediacy that make 17th century painters so moving - the everyday people in Velázquez and Rembrandt; the strobe-lit dramas in Ribera and Georges de La Tour - flow in part from ideas that Caravaggio placed before them. Only Poussin was untouched by him, which helps to explain why so much of Poussin is a classroom bore. In the last years of his life, Caravaggio drew back from the most dramatic devices of his earlier, more theatrical work. As his personal crisis worsened - in Malta in 1608 he was arrested...
...Consider the menu for President Clinton's last state dinner, for India's Prime Minister Atal Behari Vajpayee: Darjeeling tea, smoked poussin, chilled green pea and cilantro soup, marble potatoes, wild copper river salmon, red kuri squash and rice, bean ragout, Swiss chard custard, garlic-chanterelle emulsion, young greens and herb salad, heirloom tomatoes, dry aged cheese blossom and 25-year-old sherry dressing. Followed by mango and banner lotus, litchis and raspberry sauce, "a majestic tiger's delight," honey almond squares and chocolate coconut bars. It's not Indian takeout, but there are strong hints of the guest...
...Balthus' talents did not run to avant-garde ambitions. He was entirely a figurative painter--there was no abstract phase to his work--and his reverence for past masters, from Piero and Poussin to Courbet and Manet, was so absolute that his work is a virtually seamless homage to them, not so much in subject matter as in studiously quoted poses and meticulously conscious structures. His power of organization was awesome; his spread of quotation, wide. What caused the individual citations to hang together, though, was his eye for nature. Nowhere is this clearer than in his huge composition...
...with the rendition of abstractly idealized form, derived from Greco-Roman statuary. Other and lesser artists who had been through David's teaching studio believed it did, and had fine theories to support their belief. But Ingres had a horror of theory, and like his 17th century predecessor Nicolas Poussin, he was much more interested in flesh than in marble...
...even now and then in the '60s and '70s, he would produce paintings and prints of considerable power. Sometimes they would be folded into series of variations on the old masters and 19th century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet. In his last years particularly, his production took on a manic and obsessive quality, as though the creative act (however repetitious) could forestall death. Which it could not. His death left the public with a nostalgia for genius that no talent today, in the field of painting...