Word: rome
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Europe: James O. Jackson London: Barry Hillenbrand Paris: Thomas Sancton Brussels: Jay Branegan Bonn: Bruce van Voorst Central Europe: James L. Graff Moscow: John Kohan, Sally B. Donnelly Rome: Greg Burke Istanbul: James Wilde Jerusalem: Lisa Beyer Cairo: Dean Fischer Beirut: Lara Marlowe Nairobi: Andrew Purvis Johannesburg: Scott MacLeod New Delhi: Jefferson Penberthy Beijing: Jaime A. FlorCruz Hong Kong: William Dowell Southeast Asia: Frank Gibney Jr. Tokyo: Edward W. Desmond Ottawa: Gavin Scott Latin America: Laura Lopez...
...supremely, a thinking painter, to whom ratiocination was the very breath of creativity -- was formed by two powerful influences. One was the ideas of the Counterreformation, spearheaded by the Jesuits, who called for clarity and vividness in sacred images. The other was the legacy of ancient Rome -- the immense residue of form and narrative from the classical past. There seems to be no evidence one way or the other about Poussin's religious life or the strength of his faith. Probably he was neither pious nor a freethinker, but a stoic who could, when required, perform as a remarkable religious...
...came together in Rome, where Poussin spent most of his life. Born in Normandy in 1594 (his father was a military officer, his mother an alderman's daughter), he was educated, probably by Jesuits, in Paris, and turned to painting before he was 20. A chance encounter with Giambattista Marino, the floridly precious Neapolitan poet who had taken political asylum at the Paris court of Marie de Medicis, led to introductions in Rome, and he went there in 1624. From then until his death in 1665, Poussin returned to France only once, for a brief two years (1640-42), during...
Worse, there wasn't the protein in France to feed his imagination. It only existed in Rome: the presence of the recent masters from whom he learned so ! much, like Caravaggio and Annibale Carracci, and the dead ones to whom he owed even more, like Titian and Raphael; the enlightened patronage of such connoisseurs as Cassiano del Pozzo or Cardinal Barberini, for whom he painted his supreme utterance about Roman political virtue, The Death of Germanicus, 1628. Above all, there were the traces of ancient Rome, a buried organism whose disarrayed bones protruded everywhere: columns, capitals, broken herms, arches, battle...
...representation of passion and thought. In this he was absolutely French -- the contemporary of Pierre Corneille, whose tragedies revolved around ideas of free will, exemplary virtue and conflicts between desire and duty, enacted by characters from a classical past who spoke ardently and directly to a 17th century audience. Rome made Poussin; but after him, Rome could no longer condescend to Paris. By the time of his death, he had helped create an irreversible shift in the cultural balance of Europe...