| French 'Classicist' painter, Nicolas Poussin was born on | | | | of Germanicus (1627)" and "Martyrdom of St. Erasmus |
| June 15, 1594, near Les Andelys in Normandy to a | | | | (1630)." In 1630, he married Dughet's daughter, Anna |
| soldier father and a peasant mother. Despite a modest | | | | Maria. |
| family background, Nicolas managed to get some | | | | Rome gave Poussin many opportunities to explore |
| basic education in Latin. He discovered his artistic | | | | varied artistic styles. He learnt from the Roman art and |
| inclinations at a very young age. Some of the Poussin's | | | | architecture, and gleaned invaluable knowledge on art, |
| works caught the attention of Quentin Varin, a local | | | | while literary, antique writings as well impressing him. |
| painter of altarpieces. Varin coached Poussin, who | | | | Eventually, Poussin developed a strong passion for |
| slyly slipped out to Paris at the age of eighteen. Here, | | | | 'Classicism' here. He learnt about spatial constructions, |
| with the help of an aristocrat, he was trained under | | | | organization, and scientific techniques for measuring |
| Flemish painters, Ferdinand Elle and Georges | | | | statues. He consulted bas-reliefs, and spent time |
| Lallemand. The training in his formative years, | | | | studying the nuances of painted vases, sarcophagi, |
| nevertheless, failed to build a strong artistic foundation | | | | and mosaics. The distinguishing element of Poussin's |
| for Poussin. | | | | art is the marriage of 'Italian' and 'French' styles. His |
| In this period, the art scene in France was evolving, | | | | French heritage is evidenced by the meticulous |
| marked with great confusion. During this phase, the | | | | attention to figures and forms, with non-independent |
| engravings by the legendary Italian artists, Marc | | | | status being conferred on the concept of space. |
| Antonio, Guilio Romano, Leonardo da Vinci, Titan, and | | | | Poussin spent most of his life in Rome, working for his |
| Raphael tremendously influenced Poussin, helping | | | | French and Italian patrons. During his stay in Paris from |
| shape his artistic faculty. After his forced return to | | | | 1641 to 1643, the artist was honored with the 'First |
| Paris, the painter chanced upon Giambattista Marino, a | | | | Painter in Ordinary,' a title bestowed upon by Louis XIII. |
| court poet. The artist illustrated for Marino's 'Adone' | | | | His most celebrated works include "The Plague of the |
| poems and for an edition of "Ovid's Metamorphoses." | | | | Philistines (1630, Louvre)," "The Rape of the Sabines |
| Nicolas also painted a version of "Death of the Virgin | | | | (1634-35)," "Herbrews gathering Manna (1639)," "The |
| (1623)," on the directives of the archbishop of | | | | Testament of Eudamidas (1643-4)," "Moses rescued |
| Notre-Dame de Paris. | | | | from the Waters (1647)," "The Blind Men of Jericho |
| In the year 1624, Poussin and Marino reached Rome. | | | | (1650)," "The Adultress (1653)," and the double series of |
| Fate dealt a cruel blow, however, and Marino died | | | | "Seven Sacraments." His painting, "Four Seasons |
| within a few months. Lonely Poussin's health suddenly | | | | (1664-65)," is the last recognized work of Poussin. The |
| deteriorated. A fellow compatriot, Dughet, a cook, | | | | artist died on November 19, 1665 in Rome, leaving |
| however, helped him with food and shelter. The | | | | behind a rich artistic heritage, benefitting both, the Italian |
| painter's benefactor, Cardinal Francesco Barberini, | | | | and French schools of art. He is commemorated as |
| returned to Rome from Spain, in 1626, and supported | | | | one of the few distinguished painters, who were |
| Nicolas' art. The most remarkable works | | | | respected and admired by the Impressionists and the |
| commissioned to Poussin during this time were "Death | | | | Cubists, alike. |