Κατάλογος έργων του Νικολά Πουσέν: Διαφορά μεταξύ των αναθεωρήσεων
Περιεχόμενο που διαγράφηκε Περιεχόμενο που προστέθηκε
Χωρίς σύνοψη επεξεργασίας |
Χωρίς σύνοψη επεξεργασίας |
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Γραμμή 339: | Γραμμή 339: | ||
|[[File:Nicolas Poussin - The Assumption of the Virgin - WGA18331.jpg|200px]]||''Η ανάληψη της Παρθένου''||1649–1650||57 x 40 cm||Joined the French royal collection in 1685 ||Paris, musée du Louvre||188/93 |
|[[File:Nicolas Poussin - The Assumption of the Virgin - WGA18331.jpg|200px]]||''Η ανάληψη της Παρθένου''||1649–1650||57 x 40 cm||Joined the French royal collection in 1685 ||Paris, musée du Louvre||188/93 |
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|[[File:L'Extase de saint Paul.jpg|200px]] || '' |
|[[File:L'Extase de saint Paul.jpg|200px]] || ''Η ανάληψη του Αγίου Παύλου''||1649–1650||148 x 120 cm||Painted for [[Paul Scarron]], passed to the collection of [[Armand Jean de Vignerot du Plessis]] then the French royal collection in 1665 ||Paris, musée du Louvre||189/89 |
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|[[File:Paysage avec trois moines - Poussin - Belgrade.jpg|200px]] ||''Landscape with three monks or ''A Solitude'' or ''Landscape with saint Francis''||1648–1650||117 x 193 cm||Collection of Paul of Yugoslavia. Early copy at the [[musée Ingres]] de [[Montauban]] ||[[Belgrade]], [[Beli Dvor]] (white palace)||191/100 |
|[[File:Paysage avec trois moines - Poussin - Belgrade.jpg|200px]] ||''Landscape with three monks or ''A Solitude'' or ''Landscape with saint Francis''||1648–1650||117 x 193 cm||Collection of Paul of Yugoslavia. Early copy at the [[musée Ingres]] de [[Montauban]] ||[[Belgrade]], [[Beli Dvor]] (white palace)||191/100 |
Έκδοση από την 21:02, 28 Σεπτεμβρίου 2016
Αυτό το λήμμα υπόκειται σε έντονη επεξεργασία αυτή τη στιγμή και για αρκετή ώρα. |
Η σελίδα αυτή είναι κατάλογος έργων του Νικολά Πουσέν. Βασίζεται στον catalogue raisonné (πλήρη και σχολιασμένο κατάλογο) του Jacques Thuillier, ιστορικού της τέχνης ιδιαίτερα επιφυλακτικού, και σε σχετική εργασία του Anthony Blunt. Λόγω των αμφισβητήσεων, αναθεωρήσεων γνωμών και ανευρέσεων έργων που θεωρούνταν χαμένα, ο κατάλογος αυτός δεν μπορεί να θεωρηθεί οριστικός.
Περιλαμβάνονται εδώ έργα των οποίων ο τόπος έκθεσης/φύλαξης είναι με βεβαιότητα γνωστός. Οι αριθμοί στην τελευταία στήλη παραπέμπουν στους καταλόγους Thuillier 1994 και Blunt 1966 (βλ. Βιβλιογραφία).
Έργα
Πίνακας | Τίτλος | Χρονολογία | Διαστάσεις | Σημειώσεις | Χώρος | Αριθμός καταλόγου Thuillier/Blunt |
---|---|---|---|---|---|---|
Ο Άγιος Διονύσιος ο Αρεοπαγίτης στέφεται από έναν άγγελο | περί το 1620–1621 | 173 x 108 cm | Painting from the église Saint-Germain-l'Auxerrois (Paris)[1] | Ρουέν, Musée des beaux-arts | 3/R51 | |
Η Κοίμηση της Θεοτόκου | 1623 | 202 x 137 cm | From a retable commissioned by the archbishop of Paris Jean-François de Gondi for Notre-Dame de Paris, seized at the French Revolution and deposited in the Louvre, sent to Brussels in 1803, considered to be a copy, disappeared in 1814. Rediscovered in 2000 at Sterrebeek church.[2] | Sterrebeek, Sint-Pancratiuskerk church | 11/91 | |
Η έκθεση του Μωυσή στο Νείλο | 1624 c. | 145 x 196 cm | Bought in Paris in 1742 by Augustus III of Saxony | Dresden, Gemäldegalerie Alte Meister | 15/10 | |
Ο θρίαμβος του ποιητή ή Ο θρίαμβος του Οβίδιου | 1624–1625 c. | 148 x 176 cm | Attribution contested by Anthony Blunt | Rome, Palazzo Corsini | 13/R92 | |
Ρινάλντο και Αρμίντα | 1624–1625 c. (or 1630 ?) | 80 x 107 cm | London, Dulwich Picture Gallery | 20/202 | ||
Κέφαλος και Ηώς | 1624–1625 c. | 79 x 152 cm | Acquired by the Worsley collection before 1770 | York, Hovingham Hall, Worsley Collection | 25/145 | |
Το Όρος των Ελαιών | 1624–1625 c. | 62 x 49 cm | Oil on copper, formerly in the dal Pozzo collection, rediscovered 1985 | Private collection | 27/ | |
Αφροδίτη και Άδωνις | 1624–1625 c. | 98.5 x 134.6 cm | Attribution contested by Blunt | Fort Worth, Kimbell Art Museum[3] | 30/R107 | |
Παιδί με κέρας της Αμαλθείας | 1624–1625 c. | 54,8 x 51,8 | Recorded in the collection in 1713. Attribution contested by Blunt | Rome, Palazzo Pallavicini-Rospigliosi | 31/ | |
Κοιμισμένη Αφροδίτη με ερωτιδέα ή Βοσκοί που κρυφοκοιτάζουν την Αφροδίτη | 1624–1626 c. | 71 x 96 cm | Mentioned in the inventory of the Electors of Saxony in 1722. Attribution uncertain. | Dresden, Gemäldegalerie Alte Meister[4] | 28/189 | |
Ερμής, Έρση και Άγλαυρος | 1624–1626 c. | 53,5 x 77,5 cm | From the collection of Jacques-Édouard Gatteaux, damaged by fire during the Paris Commune (1871) | Paris, École nationale supérieure des beaux-arts[5] | 29/164 | |
Ρινάλντο και Αρμίντα | 1625 c. | 95 x 133 cm | Acquired by Catherine II of Russia and sent to Moscow in 1930 | Moscow, Pushkin Museum | 16/203 | |
Η μάχη του Γεδεών με τους Μαδιανίτες | 1625–1626 c. | 98 x 137 cm | Commissioned by the Roman nobleman Marcello Sacchetti | Rome, Pinacoteca Vaticana | 21/31 | |
Η νίκη του Ιησού του Ναυή επί των Αμορραίων | 1625–1626 | 97,5 x 134 cm | Pendant to Victory over the Amalekites. Sold by Poussin for 7 écus, bought by Catherine II of Russia | Moscow, Pushkin Museum | 18/30 | |
Η νίκη του Ιησού του Ναυή επί των Αμαληκιτών | 1625–1626 | 97,5 x 134 cm | Pendant to Victory over the Amorites. Sold by Poussin for 7 écus, bought by Catherine II of Russia | Saint-Petersburg, Hermitage Museum | 17/29 | |
Βάκχος και Αριάδνη | 1625–1626 | 122 x 169 cm | Mentioned in the catalogue of the Royal Palace of La Granja de San Ildefonso in 1746. Attribution rejected by Blunt but supported by Thuillier and Rosenberg | Madrid, Prado | 24/R66 | |
Κέφαλος και Ηώς | 1625–1626 c. | 96,9 x 131,3 cm | Bought by the National Gallery in 1831. Re-dated to 1626–1627 from a brand on the back. | London, National Gallery | 43/144 | |
Αφροδίτη και Άδωνις | 1625–1626 (vers) | 75 x 100 cm | Collection of Sir Joshua Reynolds in 1766 | Providence (Rhode Island), Rhode Island School of Design Museum of Art | 42/185 | |
Τοπίο με νύμφη και σάτυρο ή Amor Omnia Vincit (Ο έρως νικά τα πάντα) | 1625–1627 c. | 97 x 127,5 cm | Attribution supported by Rosenberg but rejected by Thuillier and Blunt; Blunt attributes it to Pier Francesco Mola | Cleveland, Museum of Art | R124/R58 | |
Ο Νουμάς Πομπίλιος και η νύμφη Ηγερία | 1625–1628 c. | 100 x 75 cm | Acquired by the duc d'Aumale as part of Frédéric Reiset's collection | Chantilly, musée Condé | 60/168 | |
Η σφαγή των Αθώων | 1625–1629 c. | 147 x 171 cm | Painted for Vincenzo Giustiniani. Bought by the duc d'Aumale in 1854 | Chantilly, musée Condé | 19/67 | |
Η Αφροδίτη θρηνεί τον Άδωνι | 1626 | 57 x 128 cm | Mentioned in the inventory of cardinal Angelo Giori. In the French royal collection in 1683 and sent to Caen in 1804. | Caen, musée des Beaux-Arts | 26/186 | |
Η καταστροφή του Ναού της Ιερουσαλήμ | 1626 | 145,8 x 194 cm | Painted for cardinal Barberini, who paid Poussin 61 écus for it on 3 February 1626. Passed into cardinal Richelieu's collection, lost at the end of the 18th century. Rediscovered in 1995 and given to the Israel Museum in 1999[6] | Jerusalem, Israel Museum | 35/ | |
Άποψη της Γκροτταφερράτα, αποτελούμενο από τα Αφροδίτη και Άδωνις και Τοπίο με ποτάμιο θεό | 1626 c. | 77 x 202 cm (74,5 x 112 cm + 77 x 88 cm) | Dal Pozzo collection. Cut into two parts in the 18th century and reunited in 2009[7] | Montpellier, musée Fabre | 22/R105 | |
Απόλλων και Δάφνη | 1626 c. | 97 x 131 cm | In the Elector of Bavaria's collection in 1782. | Munich, Alte Pinakothek | 23/130 | |
Βακχική γιορτή παιδιών | 1626 | 56 x 76 cm | Tempera. Collection of cardinal Chigi, remained at the Palazzo Chigi until 1914, entered the Italian national collection in 1979 | Rome, Galleria Nazionale d'Arte Antica, palazzo Barberini | 36/192 | |
Βακχική γιορτή παιδιών | 1626 | 74 x 85 cm | Tempera. Collection of cardinal Chigi, remained at the Palazzo Chigi until 1914, entered the Italian national collection in 1979. Not a pendant to the former. | Rome, Galleria Nazionale d'Arte Antica, palazzo Barberini | 37/193 | |
Θρήνος για τον νεκρό Χριστό | 1626 | 102 x 148 cm | In the collections of the Elector of Bavaria in the 18th century | Munich, Alte Pinakothek | 38/82 | |
Η Αφροδίτη αιφνιδιάζεται από σατύρους | 1626 | 77 x 100 cm | Attribution rejected by Blunt then by Thuillier but recently reattributed to Poussin[8] | Zurich, Kunsthaus | B7/R113 | |
Βακχική σκηνή ή Νύμφη που ιππεύει σάτυρο | 1626 c. | 96 x 74,5 cm | Mentioned in 1749 in the collection of William VIII, Landgrave of Hesse-Kassel | Kassel (Hesse), Old masters gallery of the Lande of Hesse | 44/198 | |
Αποκαθήλωση | 1626 c. | 119 × 98 cm | Collection of Heinrich von Brühl, whole collection acquired by Catherine II of Russia in 1768 | Saint-Petersburg, Hermitage Museum | 39/80 | |
Η παιδική ηλικία του Βάκχου | 1626 c. | 135 x 168 cm | Bought by the duc d'Aumale in England in 1859 | Chantilly, musée Condé | 46/134 | |
Το Όρος των Ελαιών | 1626 c. or 1632–1633 | 60,5 x 47 cm | oil on copper, formerly in the Barberini collection. Sold at auction for $6.7 million to a private buyer in January 1999[9] | Private collection | 88 | |
Ήλιος και Φαέθων με τον Κρόνο και τις Τέσσερις Εποχές ή Ο Άπόλλων δανείζει το άρμα του στον Φαέθοντα | 1626–1627 c. | 122 x 153 cm | Located in Paris in 1674, then Potsdam in 1773 | Berlin, Gemäldegalerie | 51/172 | |
Η ανατροφή του Βάκχου ή Μικρό βακχικό | 1626–1627 c. | 97 x 136 cm | Acquired by the French royal collection before 1683. Attribution rejected by Anthony Blunt | Paris, musée du Louvre | 50/R64 | |
Η ανατροφή του Βάκχου ή Η παιδική ηλικία του Βάκχου | 1626–1627 c. | 75 x 97 cm | London, National Gallery | 52/133 | ||
Αφροδίτη και Ερμής, αποτελούμενο από τον παρόντα πίνακα και το Κοντσέρτο ερώτων | 1626–1627 c. | 78 x 85 cm et 57 x 51 cm | Original composition known through a drawing in the Louvre. Cut up during the 18th century.[10] | London, Dulwich Picture Gallery and Paris, musée du Louvre | 34/184 | |
Παρθένος και Βρέφος | 1626–1627 c. | 58,5 x 49,5 cm | Dal Pozzo collection. Pendant to the Piéta at Cherbourg, repainted | Brighton, Preston Manor | 40 | |
Piéta | 1626–1627 c. | 57,5 x 48,5 cm | Dal Pozzo collection. Pendant to the Brighton Virgin and Child | Cherbourg, musée Thomas-Henry | 41/81 | |
Βάκχος-Απόλλων ή Βάκχος και Ηριγόνη | 1626–1627 c. (or c. 1628 ?) | 98 x 73,5 cm | Originally used for Bacchus-Erigone, then painted over by Poussin with a Bacchus-Apollo. Much later repainting, to cover the figures' genitalia. | Stockholm, Nationalmuseum | 53/135 | |
Βακχική σκηνή ή Νύμφη και σάτυρος που πίνει | 1626–1628 | 74 x 60 cm | Copy of the Moscow painting considered to be by Poussin himself | Madrid, Prado | 45a/200 | |
Βακχική σκηνή ή Νύμφη και σάτυρος που πίνει | 1626–1628 | 77 x 62 cm | Copy of the Prado painting considered to be by Poussin himself | Moscow, Pushkin Museum | 45b/200 | |
Ο Μίδας πλένεται στον Πακτωλό | 1626–1628 c. | 97,5 x 72,5 cm | Acquired by the museum in 1871 | New York, Metropolitan Museum of Art | 47/165 | |
Ο Μίδας στις πηγές του Πακτωλού | 1626–1628 c. | 50 x 66 cm | Sold on 19 February 2011[11] | Ajaccio, Musée Fesch | 48/166 | |
Όλυμπος και Μαρσύας | 1626–1628 c. | 102,5 x 89,5 cm | Rediscovered in 1969 by Pierre Rosenberg, bought by the musée du Louvre then returned to its owners in 1978 after a judicial hearing[12] | Private collection | 49 | |
Νάρκισσος και Ερωτιδέας | 1626–1629 c. | 53 x 41,9 cm | Rediscovered then sold at auction in 1997[13] · [14] | Private collection | ||
Κοιμισμένη νύμφη αιφνιδιάζεται από σατύρους ή Η Αφροδίτη αιφνιδιάζεται από σατύρους | 1627 | 66 x 50,8 cm | Attribution initially rejected by Blunt and Thuillier, recently backed by Rosenberg after an X-ray | London, National Gallery | B8/R113 | |
Η έμπνευση του ποιητή ή Η έμπνευση του Ανακρέοντα | 1627 c. | 94 x 69,5 cm | In the collection of the Elector of Hanover in 1779 | Hanover, Niedersächsisches Landesmuseum Hannover | 72/125 | |
Άκις και Γαλάτεια | 1627–1628 | 97 x 135 cm | Given to the gallery in 1916 | Dublin, National Gallery of Ireland | 54/128 | |
Οι Βοσκοί της Αρκαδίας (Et in Arcadia ego) | 1627–1628 | 101 x 82 cm | In the collection of Louis-Henri de Loménie de Brienne (son of Henri-Auguste de Loménie) at the end of the 17th century and entered the collection of William Cavendish, 4th Duke of Devonshire in 1761 | Chatsworth House, Devonshire Collection | 67/119 | |
Βακχικό με κιθαρωδό ή Το Μεγάλο Βακχικό | 1627–1628 | 121 × 175 cm | Acquired by cardinal de Richelieu then shifted to the French royal collection | Paris, musée du Louvre | 55/140 | |
Ηχώ και Νάρκισσος | 1628 | 74 x 100 cm | Acquired by Louis XIV before 1683 | Paris, musée du Louvre | 57/151 | |
Ο θάνατος του Γερμανικού | 1628 | 146 x 195 cm | Painted for cardinal Francesco Barberini. Owned by his heirs until its sale to present owner in 1958 | Minneapolis, Institute of Arts | 58/156 | |
Ο θρίαμβος της Φλόρας | 1628 | 165 x 241 cm | Owned by cardinal Omodei. Acquired in 1684–1685 by Louis XIV | Paris, musée du Louvre | 56/154 | |
Η σφαγή των Αθώων | 1628 | 97 x 132 cm | Attribution supported by Blunt but rejected by Thuillier | Paris, musée du Petit Palais | B2/66 | |
Το μαρτύριο του Αγίου Εράσμου | 1628–1629 | 99 x 74 cm | Modello for the painting intended for St Peter's in Rome. Formerly in the Barberini collection, entered its present owner's collection in 1972 | Ottawa, National Museum of Canada | 68/98 | |
Το μαρτύριο του Αγίου Εράσμου | 1628–1629 | 320 x 186 cm | Commissioned in 1628 at the instigation of cardinal Francesco Barberini for a side chapel of Saint Peter's basilica | Rome, Pinacoteca Vaticana | 69/97 | |
Μίδας και Βάκχος | 1628–1629 | 98 x 130 cm | Located in Munich from 1787 | Munich, Alte Pinakothek | 65/R89 | |
Άρτεμις και Ενδυμίων | 1628–1630 (vers) | 122 x 169 cm | Possibly formerly in the collection Jules Mazarin then of Joseph Fesch. Several repaintings by Poussin | Detroit, Institute of Arts | 66/149 | |
Άρης και Αφροδίτη | 1628–1630 c. | 155 x 213 cm | Formerly in the Dal Pozzo collection | Boston, Museum of Fine Arts | 61/183 | |
Η έμπνευση του ποιητή | 1629 | 183 x 213 cm | In Thomas Charles Hope's collection in 1824, bought by the Louvre in 1911. Largely reworked, by Poussin himself. | Paris, musée du Louvre | 79/124 | |
Το όραμα του Αγίου Ιακώβου | 1629–1630 c. | 301 × 242 cm | Possibly painted as an altarpiece for the église Saint-Jacques in Valenciennes. Bought by the duc de Richelieu then entered the French royal collection in 1665 | Paris, musée du Louvre | 75/102 | |
Η Αγία Οικογένεια με τον μικρό Άγιο Ιωάννη Βαπτιστή | 1629–1630 | 101 x 75,5 cm | Formerly in the collection of Heinrich Thyssen | Karlsruhe, Staatliche Kunsthalle | 74/48 | |
Ο Μωυσής γλυκαίνει τα νερά της Μερράς | 1629–1630 (vers) | 152 x 210 cm | Entered Simon Harcourt, 1st Earl Harcourt's collection in England in 1755. Sold at auction in 1948. | Baltimore, Museum of Art | 76/28 | |
Η Επιστροφή από την Αίγυπτο | 1629–1630 c. | 112 x 94 cm | Possibly the first version of the painting now in Cleveland | London, Dulwich Picture Gallery | 77/68 | |
Η Αγία Οικογένεια ή Ανάπαυση κατά την Φυγή στην Αίγυπτο | 1629–1630 c. | 76 x 63 cm | Formerly in the collection of Dr and Mrs Rudolph Heinemann, given to the museum in 1996[15] | New York, Metropolitan Museum of Art | 78/63 | |
Ο θρίαμβος του Δαβίδ | 1629–1630 c. | 100 x 130 cm | Collection of cardinal Girolamo Casanate from 1664 | Madrid, Prado | 73/34 | |
Ανάπαυση κατά την Φυγή στην Αίγυπτο | 1630 c. | 88 x 67 cm | Possibly from Pierre Crozat's collection, moved to England in the 19th century | Winterthour, Musée Oskar Reinhart « Am Römerholz » | 80/64 | |
Η ανάληψη της Παρθένου | 1630–1632 c. | 134,4 × 98,1 cm | Attribution supported by Blunt but rejected by Thuillier and Rosenberg (1994) | Washington, National Gallery of Art | B20/92 | |
Παιδιά και σκυλιά | 1630–1633 c. | 67,5 x 50 cm | Fragment d'une plus grande toile dont le sujet reste inconnu. In Pierre Crozat's collection, collection acquired by Catherine II of Russia | Saint-Petersburg, Hermitage Museum | 32/195 | |
Η πανούκλα στο Ασηδώθ ή Οι Φιλισταίοι χτυπημένοι από την πανούκλα | 1631 | 148 x 198 cm | Finished at the end of 1630 and sold for 110 écus. Formerly in the collection of cardinal Richelieu | Paris, musée du Louvre | 81/32 | |
Νύμφη που ιππεύει κατσίκα | 1631 c. | 72 x 56 cm | Saint-Petersburg, Hermitage Museum | 82/199 | ||
Παιδιά και ερωτιδείς | 1631 c. | 95 x 72 cm | Possibly from the collection of Pierre Crozat, which was sold to Catherine II of Russia | Saint-Petersburg, Hermitage Museum | 83/196 | |
Το βασίλειο της Φλόρας ή Ο ανθόκηπος | 1631 | 131 x 181 cm | Sold for 100 écus. Collections of the elector of Saxony from 1722 | Dresden, Gemäldegalerie Alte Meister | 84/155 | |
Ταγκρέδος και Ερμίνια | 1631 | 98 x 147 cm | Acquired in Paris in 1765 by Catherine II of Russia | Saint-Petersburg, Hermitage Museum | 86/206 | |
Παρνασσός | 1631–1632 | 145 x 197 cm | In the Spanish royal collection from 1746 | Madrid, Prado | 85/129 | |
Ο θρίαμβος του Δαβίδ | 1631–1633 c. | 117 x 146 cm | Provenance prior to acquisition by Dulwich unknown. Attribution doubted by Mahon, Blunt and Thuillier | London, Dulwich Picture Gallery | 91/33 | |
Βακχικό μπροστά σε στήλη του Ερμή | 1632–1633 | 98 x 142,8 cm | Acquired in 1826 | London, National Gallery | 87/141 | |
Επιστροφή από την Αίγυπτο | 1632–1633 | 134 x 99 cm | From the collection of the prince of Liechtenstein, sold in 1952 | Cleveland, Museum of Art | 89/ | |
Η θαυματουργή μετακίνηση της Αγίας Ρίτας της Κάσια ή Η Παναγία προστατεύει το Σπολέτο | 1633 c. | 48 x 37 cm | Oil on wood | London, Dulwich Picture Gallery | 97/94 | |
Η προσκύνηση των Μάγων | 1633 | 160 x 182 cm | Acquired in 1742 in Paris by Augustus of Saxony. Signed Accad. rom. Nicolaus Pusin faciebat Romae 1633 | Dresden, Gemäldegalerie Alte Meister | 93/44 | |
Η προσκύνηση των ποιμένων | 1633–1634 | 98 x 74 cm | Possibly from the collection of Joshua Reynolds, passed to the Beauchamp family, entered the National Gallery in 1957. Signed N. Poussin fe. sur la pierre au premier plan. | London, National Gallery | 92/40 | |
Χορός στην μουσική του Χρόνου | 1633–1634 c. | 83 x 105 cm | Painted for cardinal Ropigliosi, later pope Clement IX, on a theme outlined by the commissioner. Passed to the collections of the duke of Hertford and Richard Wallace | London, Wallace Collection | 141/121 | |
Η Αρπαγή των Σαβίνων | 1633–1634 or 1637–1638 | 159 x 206 cm | According to Blunt, this version is older than that owned by the Metropolitan; according to Thuillier, it is the younger of the two | Paris, musée du Louvre | 131/179 | |
Ο Άγιος Ιωάννης βαπτίζει στον Ιορδάνη | 1633–1634 c. | 95 x 120 cm | Dal Pozzo collection, passed into the collection of the dukes of Rutland in 1785. Belonged to the Fondation et Collection Emil G. Bührle for a time, then acquired by the Getty in 1971 | Los Angeles, Getty Center | 94/70 | |
Οι σύντροφοι του Ρινάλντο | 1633–1634 c. | 119 x 101 cm | Dal Pozzo collection. Acquired by the museum in 1977. | New York, Metropolitan Museum of Art | 106/205 | |
Ο Μωυσής χτυπά τον βράχο για ν' αναβλύσει νερό | 1633–1635 | 97 × 133 cm | Collection of Jean-Baptiste Colbert de Seignelay then in the galerie d'Orléans of the Palais-Royal, and finally bought by Francis Egerton, 3rd Duke of Bridgewater. Still owned by Egerton's successors and inheritors. | Edinburgh, National Gallery of Scotland (loan) | 101/22 | |
Τοπίο με άντρα τρομαγμένο από φίδι | 1633–1635 c. | 65 x 76 cm | Acquired around 1920 in Paris by Duncan Grant. Owned by Anthony Blunt avant sa vente au musée. | Montréal, Museum of Fine Arts | 96/215 | |
Παιδιά που παίζουν | 1633–1635 c. | 52 x 39 cm | Formerly in the collection of the duke of Westminster | Lisbon, Museu Calouste Gulbenkian | 104/R109 | |
Η Αφροδίτη δείχνει στον Αινεία τα όπλα του | 1633–1635 c. | 107 x 133 cm | Formerly in the collection of the prince of Cellamare | Toronto, musée des beaux-arts de l'Ontario | 107/190 | |
Ταγκρέδος και Ερμίνια | 1634 c. (or 1638–1639) | 75 x 100 cm | Bought in Paris in 1717 by James Thornhill. Acquired by the Institute in 1938 | Birmingham, Barber Institute of Fine Arts | 143/207 | |
Η Αρπαγή των Σαβίνων | 1634 | 154,5 x 210 cm | Formerly in the collection of Marie-Madeleine de Vignerot d'Aiguillon. | New York, Metropolitan Museum of Art | 103/180 | |
Η διάβαση της Ερυθράς Θαλάσσης | 1634 | 155,6 x 215,3 cm | Pendant to The Adoration of the Golden Calf. dal Pozzo collection. Property of the Earls of Radnor from the 18th century to 1945 | Melbourne, National Gallery of Victoria | 99/20 | |
Η λατρεία του Χρυσού Μόσχου | 1634 | 154 x 214 cm | Pendant to The Crossing of the Red Sea. dal Pozzo collection. Property of the Earls of Radnor from the 18th century to 1945 | London, National Gallery | 100/26 | |
Η διάσωση του νεαρού Πύρρου | 1634 | 116 x 160 cm | Paid 70 écus for it on 2 September 1634 by a close contact of the pope. Passed into Richelieu's collection then the French royal collection in 1665 | Paris, musée du Louvre | 108/178 | |
Τοπίο με ερείπια | 1634 c. | 72 x 98 cm | Attribution denied by Thuillier. Blunt attributes it to Jean Lemaire, Rosenberg attributes it to Poussin | Madrid, Prado | R142 | |
Ο Άγιος Ιωάννης βαπτίζει | 1634–1635 | 94 x 120 cm | Collection of André Le Nôtre, given to the king of France in 1693 | Paris, musée du Louvre | 102/69 | |
O Κάμιλλος και ο δάσκαλος των Φαλερίων | 1634–1635 c. | 101 x 137 cm | Owned by the princes de Schaumbourg-Lippe in the 18th century. Formerly in the collection of Paul of Yugoslavia. Acquired by the museum in 1970 | Pasadena (California), Norton Simon Museum | 109/143 | |
Υμέναιος ή Χορός προς τιμήν του Πρίαπου | 1634–1638 c. | 167 x 376 cm | Commissioned by the king of Spain, possibly the pendant to The Hunt of Meleager and Atalanta | São Paulo, Museum of Art | 116/176 | |
Το κυνήγι του Μελέαγρου και της Αταλάντης | 1634–1638 | 160 x 360 cm | Commissioned by the king of Spain, possibly the pendant to Dance in honour of Priapus. | Madrid, Prado | 115/163 | |
Η Αγία Καικιλία | 1635 c. | 117,7 cm x 89 cm | Located at the Royal Alcázar of Madrid in 1734. Attribution rejected by Thuillier | Madrid, musée du Prado | B19/96 | |
Η καταστροφή του Ναού της Ιερουσαλήμ | 1638 | 147 x 198 cm | Inscribed "Ni Pussin Fec" on the second shield from the right. Commissioned by Barberini to be given to the ambassador of the Holy Roman Empire in 1639 | Vienna, Kunsthistorisches Museum | 132/37 | |
Ο θρίαμβος του Ποσειδώνα ή Η γέννηση της Αφροδίτης (Bacchanales Richelieu I) | 1635 or 1636 | 97,2 × 108 cm | From a series commissioned by cardinal Richelieu for his château of the same name. | Philadelphia, Museum of Art | 110/167 | |
Ο θρίαμβος του Σειληνού (Bacchanales Richelieu II) | 1637 | 143,5 x 121,3 cm | From a series commissioned by cardinal Richelieu for his château of the same name. Considered to be an early copy (1637) of a lost original by Blunt, Thuillier and the National Gallery's curators. Considered to be an original Poussin by Rosenberg.[16] | London, National Gallery | 111/138 | |
Ο θρίαμβος του Πανός (Bacchanales Richelieu III) | 1635–1636 | 134 x 145 cm | From a series commissioned by cardinal Richelieu for his château of the same name. | London, National Gallery | 112/136 | |
Ο θρίαμβος του Βάκχου (Bacchanales Richelieu IV) | 1635–1636 | 128,3 x 151,1 cm | Considered to be an early copy by Blunt and Thuillier. Considered to be a Poussin original by Rosenberg. From a series commissioned by cardinal Richelieu for his château of the same name. | Kansas City, Nelson-Atkins Museum of Art | 113/137 | |
Τα Επτά Μυστήρια Α΄ - Εξομολόγηση | 1636–1640 c. | 95,5 x 121 cm | Destroyed in a fire at Belvoir Castle in 1816 | Destroyed | /108 | |
Τα Επτά Μυστήρια Α΄ - Γάμος | 1636–1640 c. | 95,5 x 121 cm | Second in the series, preceded by Confession | Belvoir Castle, Leicestershire, Collection of the duke of Rutland | 125/111 | |
Τα Επτά Μυστήρια Α΄ - Ευχέλαιο | 1636-1640 c. | 95,5 x 121 cm | dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Acquired by The Fitzwilliam Museum in 2012. | Cambridge, The Fitzwilliam Museum | 126/109 | |
Τα Επτά Μυστήρια Α΄ - Χρίσμα | 1636-1640 (vers) | 95,5 x 121 cm | dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785 | Belvoir Castle, Leicestershire, Collection of the duke of Rutland | 127/106 | |
Τα Επτά Μυστήρια Α΄ - Ιερωσύνη | 1636–1640 c. | 95,5 x 121 cm | dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Attempted sale in 2010 (estimate of £15 million[17]) Acquired by Kimbell Art Museum in 2011. | Fort Worth, Kimbell Art Museum | 128/110 | |
Τα Επτά Μυστήρια Α΄ - Θεία Ευχαριστία | 1636-1640 c. | 95,5 x 121 cm | dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. | Belvoir Castle, Leicestershire, Collection of the duke of Rutland | 129/107 | |
Τα Επτά Μυστήρια Α΄ - Βάπτισμα ή Η Βάπτιση του Χριστού | 1636–1642 | 95,5 × 121 cm | Completed in 1642 in Paris. dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Separated from the rest of the series following a sale in 1939 | Washington, National Gallery of Art | 130/105 | |
Η γαλούχηση του Δία | 1636–1637 c. | 96,2 x 119,6 cm | Appeared in the middle of the 18th century | London, Dulwich Picture Gallery | 139/161 | |
Τοπίο με την Ήρα και τον Άργο | 1636–1637 c. | 120 x 195 cm | Cited in 1638 in the Giustiniani family collection in Rome | Berlin, Gemäldegalerie | 95/160 | |
O Κάμιλλος και ο δάσκαλος των Φαλερίων | 1637 | 252 x 265 cm | Painted for Louis Ier Phélypeaux de La Vrillière | Paris, musée du Louvre | 122/142 | |
Παν και Σύριγξ | 1637 | 106,5 x 82 cm | Acquired by Augustus III of Saxony in Paris in 1742 | Dresden, Gemäldegalerie Alte Meister | 120/171 | |
Τοπίο με τον Άγιο Ιερώνυμο | 1637–1638 | 155 x 234 cm | Belonging to a series of paintings of hermits commissioned from artists resident in Rome by Philip IV of Spain to decorate his Retiro palace | Madrid, Prado | 114/103 | |
Τοπίο με άντρα που πίνει νερό | 1637–1638 c. | 63 x 78 cm | Possibly from the Dal Pozzo collection, reappeared in 1939. Pendant to Landscape with resting travellers | London, National Gallery | 133/213 | |
Τοπίο με ταξιδιώτες που αναπαύονται | 1637–1638 c. | 63 x 75 cm | Possibly Dal Pozzo collection, reappeared in 1939. Pendant to Landscape with a man drinking | London, National Gallery | 134/214 | |
Το μάννα εξ ουρανού | 1637–1639 | 149 x 200 cm | Painted for Paul Fréart de Chantelou | Paris, musée du Louvre | 135/21 | |
Η ανεύρεση του Μωυσή | 1638 | 93 x 121 cm | Previously belonged to André Le Nôtre and given to the king of France in 1693 | Paris, musée du Louvre | 136/12 | |
Ο Θησέας βρίσκει τα όπλα του πατέρα του | 1638 c. | 98 x 134 cm | Architectural decoration painted by Jean Lemaire. | Chantilly, musée Condé | 90/182 | |
Οι Βοσκοί της Αρκαδίας (Et in Arcadia ego) | 1638–1639 | 85 x 121 cm | Acquired by Louis XIV in 1685 | Paris, musée du Louvre | 137/120 | |
Αγία Μαργαρίτα | 1638–1640 c. | 220 x 145 cm | Possibly commissioned by Dal Pozzo for a church in the Piedmont | Turin, Sabauda Gallery | 142/104 | |
Η Αφροδίτη δείχνει στον Αινεία τα όπλα του | 1639 | 105 x 142 cm | Painted for Jacques Stella | Rouen, musée des beaux-arts | 138/191 | |
Ο Δίας θηλάζει την Αμάλθεια | 1640 | 97 × 133 cm | Collection of Frederick II of Prussia in 1786 | Berlin, Gemäldegalerie | 145/162 | |
Η αγνότητα του Σκιπίωνα | 1640 | 114 x 163 cm | Collection of Robert Walpole, collection acquired by Catherine II of Russia in 1772 | Moscow, Pushkin Museum | 146/181 | |
Τοπίο με τον Ευαγγελιστή Ματθαίο | 1640 | 99 x 135 cm | Sold for 70 écus on 28 October 1640. Left to cardinal Barberini, acquired by the Gemäldegalerie in 1873. Pendant to Landscape with saint John on Patmos | Berlin, Gemäldegalerie | 147/87 | |
Τοπίο με τον Ευαγγελιστή Ιωάννη στην Πάτμο | 1640 | 102 x 133 cm | Sold for 70 écus on 28 October 1640. Reappeared in 1930. Pendant to Landscape with saint Matthew. | Chicago, Art Institute | 148/86 | |
Η καθιέρωση της Θείας Ευχαριστίας | 1641 | 325 x 250 cm | Commissioned in December 1640 for Louis XIII of France for the chapel of the château de Saint-Germain-en-Laye | Paris, musée du Louvre | 149/78 | |
Χρόνος κι Αλήθεια ή Ο Χρόνος υπερασπίζεται την Αλήθεια εναντίον του Φθόνου και της Διχόνοιας | 1641 | 297 cm in diameter | Commissioned by cardinal Richelieu for the ceiling of the 'grand cabinet' of his Parisian palace | Paris, musée du Louvre | 152/122 | |
Το θαύμα του Αγίου Φραγκίσκου Ξαβιέ στην Ιαπωνία | 1641–1642 | 444 x 234 cm | Commissioned by François Sublet des Noyers for the high altar of the Jesuit noviciate | Paris, musée du Louvre | 151/101 | |
Αγία Οικογένεια | 1641–1642 | 71 x 55,5 cm | Painted for the Order of Malta's ambassador to Rome. Acquired by the Institute in 1954. | Detroit, Institute of Arts | 153/46 | |
Η ανάληψη του Αγίου Παύλου | 1643 | 41,5 x 30 cm | Painted for Paul Fréart de Chantelou | Sarasota, Florida, John and Mable Ringling Museum of Art | 154/ | |
Τα Επτά Μυστήρια Β΄ - Ευχέλαιο | 1644 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland(long term loan) | 159/116 | |
Τα Επτά Μυστήρια Β΄ - Χρίσμα | 1645 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland | 160/113 | |
Τα Επτά Μυστήρια Β΄ - Βάπτιση | 1646 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland | 161/112 | |
Τα Επτά Μυστήρια Β΄ - Εξομολόγηση | 1647 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland | 162/115 | |
Τα Επτά Μυστήρια Β΄ - Ιερωσύνη | 1647 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland | 163/117 | |
Τα Επτά Μυστήρια Β΄ - Θεία Ευχαριστία | 1647 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland | 164/114 | |
Τα Επτά Μυστήρια Β΄ - Γάμος | 1647–1648 | 117 x 178 cm | Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. | Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland | 165/118 | |
Ο μικρός Μωυσής ποδοπατά το στέμμα του φαραώ | 1645 | 101 x 144 cm | D'Orléans collection, sold in England in 1798 | Woburn Abbey (Bedfordshire), collection of the duke of Bedford | 156/16 | |
Σταύρωση | 1645–1646 | 148 x 218 cm | Commissioned before May 1644 by magistrate Jacques-Auguste II de Thou then owned by the family of Jacques Stella. Acquired by the Atheneum in 1935. | Hartford (Connecticut), Wadsworth Atheneum | 157/79 | |
Ο Μωυσής μετατρέπει την ράβδο του Ααρών σε φίδι | 1645–1648 c. | 92 x 128 cm | Pendant to The infant Moses trampling pharoah's crown. Painted for Camillo Massimi | Paris, musée du Louvre | 167/19 | |
Ο μικρός Μωυσής ποδοπατά το στέμμα του φαραώ | 1645–1648 c. | 92 x 128 cm | Pendant to Moses changing Aaron's rod into a snake. Painted for Camillo Massimi | Paris, musée du Louvre | 166/15 | |
Η ανεύρεση του Μωυσή | 1647 | 120 x 195 cm | Acquired by Armand Jean de Vignerot du Plessis and entered the French royal collections in n 1665 | Paris, musée du Louvre | 169/13 | |
Η Βάπτιση | 1648 | 30 x 23 | Painted for Paul Fréart de Chantelou following a commission granted in 1645. Painted on cupressus panel | New York, collection Wildenstein | 170/71 | |
Η Αγία Οικογένεια στα σκαλοπάτια | 1648 | 118 x 197 cm | The original according to the archives, with the version held by the National Gallery of Art in Washington only being a copy. Fraudulently exported from France and acquired by the Cleveland Museum, then jointly acquired by them and the Louvre | Cleveland, Museum of Art, Paris, musée du Louvre | 172/53 | |
Ελιέζερ και Ρεβέκκα | 1648 | 118 x 197 cm | Passed into the hands of Armand Jean de Vignerot du Plessis then entered the French royal collection in 1665 | Paris, musée du Louvre | 173/8 | |
Τοπίο με την ταφή του Φωκίωνα | 1648 | 117,5 x 178 cm | Possibly painted for the Lyon businessman Jacques Sérisier. Pendant to Landscape with the ashes of Phocion | Cardiff, National Museum of Wales | 176/173 | |
Τοπίο με την τέφρα του Φωκίωνα | 1648 | 116 x 178,5 cm | Possibly painted for the Lyon businessman Jacques Sérisier. Pendant to Landscape with the funeral of Phocion | Liverpool, Walker Art Gallery | 177/174 | |
Τοπίο με άνθρωπο δαγκωμένο από φίδι ή Τα αποτελέσματα του τρόμου | 1648 | 119 x 198,5 cm | Copie ancienne au musée Magnin | London, National Gallery | 178/209 | |
Ορφέας και Ευρυδίκη | 1648 | 120 x 200 cm | Acquired for the French royal collection in 1685. Upper and lower portions cut off. | Paris, musée du Louvre | 179/170 | |
Το κύπελλο του Διογένη | 1648 | 160 x 221 cm | Collection of the duc de Richelieu, acquired by Louis XIV in 1665 | Paris, musée du Louvre | 180/150 | |
Τοπίο με τον Πολύφημο | 1649 | 150 x 198 cm | Acquired by Catherine II of Russia in 1772 on the advice of Denis Diderot | Saint-Pétersbourg, musée de l'Ermitage | 182/175 | |
Η κρίση του Σολομώντα | 1649 | 101 x 150 cm | Entered the French royal collection in 1685 | Paris, musée du Louvre | 183/35 | |
Ο Μωυσής χτυπά τον βράχο για ν' αναβλύσει νερό | 1649 | 150 × 196 cm | Painted for Jacques Stella. Collection of Robert Walpole in 1733, acquired by Catherine II of Russia in 1779 | Saint-Petersburg, Hermitage Museum 185/23 | ||
Αυτοπροσωπογραφία | 1649 | 78 x 65 cm | Inscribed "Nicolaus Poussinus Andelyensis Academicus Romanus Primus Pictor Ordinarius Ludovici Iusti Regis Galliae. Anno Domini 1649. Romae. Aetatis suae 55" Painted for his friend Jean Pointel. Acquired by the Gemäldegalerie in 1821. | Berlin, Gemäldegalerie | 186/1 | |
Αυτοπροσωπογραφία | 1649–1650 | 98 x 74 cm | Inscribed "Effigies Nicolai Poussini Andelyensis Pictoris Anno Aetatis 56 Romae Anno Iubilei 1650" Painted for his friend Paul Fréart de Chantelou. Acquired by the French national collection in 1797. | Paris, musée du Louvre | 190/2 | |
Η ανάληψη της Παρθένου | 1649–1650 | 57 x 40 cm | Joined the French royal collection in 1685 | Paris, musée du Louvre | 188/93 | |
Η ανάληψη του Αγίου Παύλου | 1649–1650 | 148 x 120 cm | Painted for Paul Scarron, passed to the collection of Armand Jean de Vignerot du Plessis then the French royal collection in 1665 | Paris, musée du Louvre | 189/89 | |
Landscape with three monks or A Solitude or Landscape with saint Francis | 1648–1650 | 117 x 193 cm | Collection of Paul of Yugoslavia. Early copy at the musée Ingres de Montauban | Belgrade, Beli Dvor (white palace) | 191/100 | |
Landscape with a woman washing her feet | 1650 | 114 x 175 cm | Painted for Michel Passart. Acquired by the Gallery in 1944. Early copy at the musée Condé de Chantilly | Ottawa, National Gallery of Canada | 192/212 | |
The Blind Men at Jericho or Christ healing the blind | 1650 | 119 x 176 cm | Painted for the Lyon silk merchant Reynon, acquired by Armand Jean de Vignerot du Plessis then by the French royal collection in 1665 | Paris, musée du Louvre | 193/74 | |
Holy Family | 1650–c. 1651 | 97,8 × 129,5 cm | Acquired in 1942. | Cambridge (Massachusetts), Fogg Art Museum | 195/54 | |
The Holy Family with Saint John and Saint Elisabeth in a landscape | c. 1650 | 94 x 122 cm | Painted for the wife of Nicolas Fouquet and joined the French royal collection in 1685 | Paris, musée du Louvre | 196/55 | |
Moses saved from the river | 1651 | 116 x 177,5 cm | Painted for Reynon. Acquired jointly with the National Gallery, London | Cardiff, National Museum of Wales / London, The National Gallery | 197/14 | |
Holy Family | 1651 | 96,5 x 133 cm | Painted for Charles III de Créquy. On show at Chatsworth House until 1981 | Pasadena (California), Norton Simon Museum | 198/58 | |
Stormy Landscape with Pyramus and Thisbe | 1651 | 192 x 273 cm | Painted for Cassiano dal Pozzo. Acquired by the Museum in 1931. | Frankfurt, Städel Museum | 202/177 | |
Landscape in calm weather or Calm time | 1651 | 99 x 132 cm | Pendant to The Storm at Rouen. Rediscovered in 1977. Held until 1997 at Sudeley Castle in Winchcombe (Gloucestershire) | Los Angeles, Getty Center | 201/ | |
The Storm | c. 01651 | 99 x 132 cm | Pendant to the Getty's Landscape in calm weather du Getty. Reappeared on the art market in 1950. | Rouen, musée des beaux-arts | 200/ | |
Ideal landscape or Landscape with buildings or Landscape with three men | 1651–1653 | 120 × 187 cm | Mentioned in 1746 to be at the Royal Palace of La Granja de San Ildefonso | Madrid, Prado | 199/ | |
Achilles on Skyros or Achilles among the daughters of Lycomedes | 1651–c. 1653 | 97,5 x 131,1 cm | Boston, Museum of Fine Arts | 204/ | ||
Coriolanus | 1652–c. 1653 | 112 x 198,5 cm | Seized from the émigré (Simon-Charles Boutin) on the French Revolution and sent to Les Andelys in 1802 | Les Andelys, Musée Nicolas Poussin | 203/147 | |
The Will of Eudamidas | c. 1653 | 110,5 x 138,5 cm | Painted for Michel Passart | Copenhague, Statens Museum for Kunst | 206/152 | |
Christ and the woman taken in adultery | c. 1653 | 121 x 195 cm | Painted for André Le Nôtre and given to Louis XIV in 1693 | Paris, musée du Louvre | 207/ | |
Noli Me Tangere | 1653 | 47 x 39 cm | Inventory of the la Granja palace in 1746. Its lost pendant was a Lamentation over the dead Christ | Madrid, Prado | 208/ | |
Nativity | c. 1653 | 46 x 39,5 cm | Oil on wood. Pendant to the Munich Annunciation. Attribution to Poussin opposed by Blunt | Oberschleissheim, now the schloss Schleissheim (Bayerische Staatsgemäldesammlungen)[18] | 209/R19 | |
Annunciation | c. 1653 | 45 x 38 cm | Oil on wood. Pendant to the Munich Nativity. Attribution to Poussin opposed by Blunt | Oberschleissheim, now schloss Schleissheim (Bavaria State paintings collection)[19] | 225/39 | |
Moses exposed by the river | 1654 | 150 x 204 cm | Painted for Jacques Stella. Collection of the ducs d'Orléans before 1727 | Oxford, Ashmolean Museum | 211/ | |
The Death of Saphire (or Saphira) | 1654–1656 | 122 × 199 cm | Acquired in 1685 by Louis XIV | Paris, musée du Louvre | 210/85 | |
Esther before Ahasuerus | 1655 | 119 x 155 cm | Painted for Sérisier, then in the Seigneley collection, then in the collection of the ducs d'Orléans, finally acquired by Catherine II of Russia. | Saint-Petersburg, Hermitage Museum | 212/36 | |
Holy Family | 1655 | 172 x 133,5 cm | Walpole's collection before 1739. Acquired in 1779 by Catherine II of Russia | Saint-Petersburg, Hermitage Museum | 213/ | |
Sainte Famille | 1655 | 198 x 128 cm | Possibly commissioned by the duc de Créqui. Formerly in the collection of the earls of Yarborough | Sarasota (Floride), John and Mable Ringling Museum of Art | 214/51 | |
Saints Peter and John healing the lame man | 1655 | 126 x 165 cm | Painted for a treasurer in Lyon, Mercier. Collection of the prince of Liechtenstein from 1924. | New York, Metropolitan Museum of Art | 216/84 | |
Holy Family with saints John, Elisabeth and Joseph praying | 1655 | 68 x 51 cm | Acquired in 1685 by Louis XIV | Paris, musée du Louvre | 217/57 | |
Adoration of the Shepherds | 1655 c. | 96 x 134 cm | Collection of the Electors Palatine at Mannheim, inherited by the electors of Bavaria in 1777 | Oberschleissheim, now the Schloss Schleissheim (Bavaria State paintings collection)[20] | 221/41 | |
Saint John baptising Christ | 1655–1657 | 92 x 129 cm | Reappeared in 1911 | Philadelphia, Museum of Art | 220/ | |
The Rest on the Flight into Egypt | 1655–1657 | 105 × 145 cm | Painted for madame de Montmort, wife of Fréart de Chantelou | Saint Petersburg, Hermitage | 219/ | |
Achills on Skyros | 1656 | 100,33 x 133,35 cm | Painted for the duc de Créqui. Attribution supported by Blunt but rejected by Thuillier | Richmond (Virginia), Virginia Museum of Fine Arts | 218/127 | |
The Birth of Bacchus | 1657 | 123 x 179 cm | Painted for Jacques Stella, passed to the d'Orléans collection. Given to the Museum by Samuel Sachs in 1942 | Cambridge (Massachusetts), Fogg Art Museum | 226/ | |
Annunciation | 1657 | 105,8 x 103,9 cm | Possibly painted for Dal Pozzo's funerary chapel in the basilica of Santa Maria sopra Minerva in Rome. Inscribed "Poussin faciebat. anno. salutis. MDCLVII. Alex. sept. Pont. Max. Regnante Roma" | London, National Gallery | 228/ | |
The vision of saint Frances of Rome or Saint Frances of Rome announcing the end of the plague to Rome | 1657 c. | 125 x 102 cm | Painted for Giulio Rospigliosi. Reappeared on the art market after a disappearance of almost . Acquired by the Louvre in 1999[21] | Paris, musée du Louvre | 223/ | |
The Flight into Egypt or resting on the journey | 1657–1658 | 146 x 216 cm | Reappeared in 1986, classified a 'trésor national'. Acquired in 2007, property of the musée du Louvre deposited at Lyon | Lyon, musée des beaux-arts | 230/61 | |
Lamentation over the dead Christ | 1657–1658 c. | 94 x 130 cm | Acquired in 1882 by the duke of Hamilton | Dublin, National Gallery of Ireland | 229/83 | |
Queen Zenobia found on the banks of the river Arax | 1657–1660 | 156 x 194,5 cm | Rospigliosi collection in 1713. | Saint-Petersburg, Hermitage Museum | 233/ | |
Landscape with the lame Orion searching for the sun or Landscape with Diana and Orion | 1658 | 119 x 182,9 cm | Painted for Michel Passart. Collection of Paul Sanford Methuen. Acquired by the Museum in 1924 | New York, Metropolitan Museum of Art | 227/169 | |
Landscape with two nymphs | 1659 c. | 118 x 179 cm | Possibly painted for Charles Le Brun. Acquired with the Reiser collection by the duc d'Aumale | Chantilly, musée Condé | 231/208 | |
Landscape with Hercules and Cacus | 1659–1661 c. | 156,5 x 202 cm | Acquired by Catherine II of Russia in 1772 from Hubert de Brienne de Conflans | Moscow, Pushkin Museum | 240/158 | |
The Four Seasons : Spring or Adam and Eve or The earthly paradise | 1660–1664 | 116 x 160 cm | Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 | Paris, musée du Louvre | 234/3 | |
The Four Seasons : Summer or Ruth and Boaz | 1660–1664 | 116 x 160 cm | Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 | Paris, musée du Louvre | 235/4 | |
The Four Seasons : Autumn or The grapes of the promised land or The Grapes of Canaan | 1660–1664 | 116 x 160 cm | Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 | Paris, musée du Louvre | 236/5 | |
The Four Seasons : Winter or The Flood | 1660–1664 | 116 x 160 cm | Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 | Paris, musée du Louvre | 237/6 | |
Eleazar and Rebecca | 1660–1665 c. | 96,5 x 138 cm | Discovered by Anthony Blunt in 1933 and bought by the Museum on his death | Cambridge, Fitzwilliam Museum | 239/9 | |
Landscape with Hagar and the Angel | 1660–1665 c. | 100 x 75 cm | Discovered in 1960 by André Chastel | Rome, Galleria Nazionale d'Arte Antica, palazzo Barberini | 241/ | |
Apollo and Daphne or Apollo in love with Daphne | 1664 | 155 x 200 cm | Incomplete on Poussin's death, given to Camillo Massimi. Acquired by the Louvre in 1869 | Paris, musée du Louvre | 242/131 |
References
- ↑ «Catalogue page». Découverte des collections des musées de Haute-Normandie. Ανακτήθηκε στις 4 Ιουνίου 2011.
- ↑ (Γαλλικά) La Mort de la Vierge de Poussin restaurée
- ↑ «Notice». Kimbell Art Museum. Ανακτήθηκε στις 4 Ιουνίου 2011.
- ↑ «Catalogue entry». Bidarchiv SKD. Ανακτήθηκε στις 4 Ιουνίου 2011.
- ↑ «Notice Cat'zart». ensba.fr. Ανακτήθηκε στις 4 Ιουνίου 2011.
- ↑ Overview – The Israel Museum
- ↑ (Γαλλικά) Chroniques d’acquisitions annoncées : Poussin pour Montpellier et Ingres pour le Louvre
- ↑ (Γαλλικά) Olivier Bonfait, 'Poussin aujourd'hui', La Revue de l'Art, vol. 119, no 1, 1998, p. 73 note 24
- ↑ Old master madness
- ↑ Dulwich picture gallery
- ↑ (Γαλλικά) Incroyable vol au Musée Fesch d’Ajaccio
- ↑ (Γαλλικά) Tribulations d'un Poussin
- ↑ 5093/Lot53 Christie's – Sale 5093, Lot 53
- ↑ Olivier Bonfait, « Poussin aujourd'hui », art. cit., p. 72 note
- ↑ The Rest on the Flight into Egypt
- ↑ Olivier Bonfait, 'Poussin aujourd'hui, art. cit', La Revue de l'Art, vol 119, (1998), page 73, note 31
- ↑ «Poussin painting valued at £15m fails to sell». BBC News. 8 December 2010. http://www.bbc.co.uk/news/uk-england-leicestershire-11946061.
- ↑ French paintings in Germany
- ↑ French paintings in Germany
- ↑ French paintings in Germany
- ↑ Musée du Louvre
Βιβλιογραφία
- Anthony Blunt, The Paintings of Nicolas Poussin. A Critical Catalogue, London, Phaidon, 1966, 271 p.
- (Γαλλικά) Jacques Thuillier, Tout l'œuvre peint de Poussin : Documentation et catalogue raisonné, Paris, Rizzoli-Flammarion, Les Classique de l'Art series, 1974, 136 p.
- (Γαλλικά) Jacques Thuillier, Nicolas Poussin, Paris, Flammarion, 1994, 287 p. (ISBN 2-08-012513-3) – contains a summary of the 1974 work's catalogue
- (Γαλλικά) Pierre Rosenberg, Nicolas Poussin (1594–1665), exhibition catalogue, Grand Palais, Paris, RMN, 1996