Origins to flowers

"AROUND To POUSSIN"

Rome - P.zzo Barberini, Via of the Four Fontanas, 13 Until 29 January 1995

The extension, than is concluded in these days in knows them of Barberini palace, is introduced like only review prepared in Italy in order to celebrate the 4� centennial of the birth of Nicolas Poussin (Normandia 1594 - Rome 1655), French painter whom just to Rome its artistic apex caught up not only but also reputation and celebrita' between the great committenti of the time that they acted in the citta ', like note the Barberini.

Just Poussin e' be one of the main interpreters of the secentesco classicismo to the age asserted like cultural and artistic current in voga between the intellectuals, the noble ones mecenati and the painters roman.

The young person Nicolas Poussin came introduced to Rome in the 1624 from the celebre cavalier Marine that had noticed it to the French court of Maria de' Doctors and it had convinced it to follow it in Italy just in the moment in which the painter it began its rise in artistic atmospheres Parisians.

In the citta ', Poussin enjoys the protection and the favors of the cardinal Bags and Francisco Barberini, City grandson of VIII, friendships that are worth to it endured important committenze.

We are by now in 1627, year in which the painter it finishes the "Dead women of German" (Minneapolis - Institute of Arts), first present famous picture to the roman extension that not only comprises in all one some thirty of paintings of Poussin but also of other active foreign painters in that period to Rome, like the brother-in-law of the artist, Gaspard Dughet (Rome 1615 - 75), its disciple and great paesaggista, famous for its numerous storms and views of the roman campaign, some di.le exposed which in the same review.

The extension is introduced interesting perche' tries to give one general vision of the presence of foreign painters in the Rome of the 1600's, presence that rivelera' preponderant and fundamental for the affirmation of a sure type of painting, which that one "of represented kind" from the paesaggisti, the painters of classic ruins and died natures, pack-saddles to remember to us beyond to the gia' cited Dughet, names like the great Claude Lorrain (the 1600 - 1682) and those of other active artists in the second one meta' of the century, which the German Christian Berentz (1658 - 1722) and fiammingo Abraham Bruegel (1631 - 1697). But on all the figure of Nicolas Poussin, always aware prevails of just succeeded but the never thus narcisista one to feel sorry itself some public, an artist who contrapponeva to the successes publics one private life modest calm and, an artist who, also accepting jobs from the powerful families roman of the time (Bags, Barberini, etc.) rifiuto' always to enter of to the service preferring one sure liberta' of chosen in fact of commission.

The art of Poussin formo' to the manierista school of Fontainbleau from which pero' the painter distacco' very soon preferring the clear and rigorous models of the masters of the Italian Rinascimento, first of all Raffaello, to which, arriving in Italy, affianco' the strong and overbearing colorismo of the great painting veneta of Tiziano.

And e' just to great Veneto painter who the present artist rifa' painting the two "Baccanali of putti" to the extension and date you around to 1626, the two copies from Tiziano of the "Festino of Of i" (Rome - Castel S. Angelo) and of the "Bacchus and Arianna" (Rome - Academy of S. Luca) to he attributed from a part of the critic and the famous "Triumph of Flora" of the 1627 ca., perhaps executed for the cardinal Bags, in which to the classic clearness of the feminine faces the festoso rhythm of the amorini is accompanied, much present ones in the pictures of the French painter, and a sure veil of melancholy characterizes unusually. The expressions of the present personages to the triumph of the divinita one ', figures of semidei that gave origin to flowers, like Narcissus, Giacinto and Clizia, drafts directly from the "Metamorphoses" of Ovid.

To the history pictures the "Dead women of German", gia' previously cited, and the "Battle of Gedeone against the Madianiti" (Rome - Pinacoteca belong Vatican); in the first one, belonged to the cardinal Francisco Barberini, to the tragic compostezza of the moment, all classic one, one accompanies the pain and the sadness that to traspare from the faces of the present ones sormontati from the alarming drappo blue-night that seems to wrap and to cover the entire scene like the dead women who unripe sopraggiunge to embrace the roman hero. According to picture, the whose history e' draft from the Book of the Giudei (WAYS), e' illuminated from the nocturnal light that lambisce the bodies of the dead soldiers and prominence the movements concita you of the battle giving to the scene plasticita' own of a relief the classic.

Of the pictures to religious character of the present painter e' famous the how much raccapricciante "Martyrdom of S:Erasmo" (1628/9 - Rome, Pinacoteca Vatican), signed work destined to S. Realized Peter and behind support of Barberini cardinal (for which Poussin has produced one copy from present support to the extension).

The burlap to traspare a tragic and heroic sense of the life much fort, the hard scene e' and cruenta like those of the "Massacre of innocents" (1624/30) and de "the Plague of Azoth" (1630/31), to the represented classic fortress from the statue of Ercole mails up on the right to sormontare the action of the executioners vien contrapposta the Christian force of the martyrdom that the Saint sopporta heroically; and this contrast, between rigor and equilibrium classic and tragic, spiritual and heroic sense of the destiny and the history of the man e' the contrast that caratterizzera' until the end the art of painter Nicolas Poussin.

Eva De Lorenzis

Rome, 26 January 1995

The present rows comes from

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Origins to Flowers