Word: poussins
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...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...
...learned about this tension and its anxieties from Cezanne. But there has never been a great figurative artist who did not feel and exemplify it. It can be as poignant in Giotto or even in Poussin as it is in Cezanne or Matisse. For Matisse it was of prime importance, whereas in abstract art it tends to fall away, because one end of the cord is no longer anchored in the world and its objects. This is not an argument against abstraction, but it helps explain why, in those abstract paintings that derive from Matisse, one so rarely feels...
...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...
...apples-and- oranges problem of imagining links between dissimilar arts. But in the case of Rembrandt van Rijn you can, and the temptation to do it, if not carried too far, can hardly be resisted. He was the Shakespeare of 17th century painting, even more so than Nicolas Poussin was the Milton...