Κατάλογος έργων του Νικολά Πουσέν: Διαφορά μεταξύ των αναθεωρήσεων

Από τη Βικιπαίδεια, την ελεύθερη εγκυκλοπαίδεια
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Ignoto (συζήτηση | συνεισφορές)
Χωρίς σύνοψη επεξεργασίας
Ignoto (συζήτηση | συνεισφορές)
Χωρίς σύνοψη επεξεργασίας
Γραμμή 341: Γραμμή 341:
|[[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
|[[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]] ||''Τοπίο με τρεις μοναχούς'' ή Μια μοναξιά'' ή ''Τοπίο με τον Άγιο Φραγκίσκο''||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
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|[[File:Paysage avec une femme se lavant les pieds - Poussin - MBACanada.jpg|200px]]||''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
|[[File:Paysage avec une femme se lavant les pieds - Poussin - MBACanada.jpg|200px]]||''Τοπίο με γυναίκα που πλένει τα πόδια της''||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
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|[[File:Les Aveugles de Jéricho - Nicolas Poussin - Louvre.jpg|200px]]|| ''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
|[[File:Les Aveugles de Jéricho - Nicolas Poussin - Louvre.jpg|200px]]|| ''Η θεραπεία του τυφλού''|| 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
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|[[File:Nicolas Poussin - Sainte Famille (aux neuf figures).jpg|200px]] || ''Holy Family''||1650–c. 1651 || 97,8 × 129,5 cm||Acquired in 1942. ||[[Cambridge (Massachusetts)]], [[Fogg Art Museum]]||195/54
|[[File:Nicolas Poussin - Sainte Famille (aux neuf figures).jpg|200px]] || ''Αγία Οικογένεια''||1650–c. 1651 || 97,8 × 129,5 cm||Acquired in 1942. ||[[Cambridge (Massachusetts)]], [[Fogg Art Museum]]||195/54
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|[[File:La Sainte Famille avec saint Jean et sainte Élisabeth dans un paysage - Nicolas Poussin - Louvre.jpg|200px]]||''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
|[[File:La Sainte Famille avec saint Jean et sainte Élisabeth dans un paysage - Nicolas Poussin - Louvre.jpg|200px]]||''Η Αγία Οικογένεια με την Αγία Ελισάβετ και τον μικρό Άγιο Ιωάννη Βαπτιστή σε τοπίο''||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
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| [[File:Poussin, Finding of Moses, 1651.jpg|200px]] ||''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
| [[File:Poussin, Finding of Moses, 1651.jpg|200px]] ||''Η διάσωση του Μωυσή''||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
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| [[File:Poussin La sainte famille Pasadena.jpg|200px]] ||''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
| [[File:Poussin La sainte famille Pasadena.jpg|200px]] ||''Αγία Οικογένεια''||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
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|[[File:Nicolas Poussin - Stormy Landscape with Pyramus and Thisbe - WGA18334.jpg|200px]]|| ''Stormy Landscape with Pyramus and Thisbe'' || 1651 || 192 x 273 cm ||Painted for [[Cassiano dal Pozzo]]. Acquired by the Museum in 1931. || [[Frankfurt]], [[Städel|Städel Museum]]||202/177
|[[File:Nicolas Poussin - Stormy Landscape with Pyramus and Thisbe - WGA18334.jpg|200px]]|| ''Τοπίο σε ώρα θύελλας με τον Πύραμο και την θίσβη'' || 1651 || 192 x 273 cm ||Painted for [[Cassiano dal Pozzo]]. Acquired by the Museum in 1931. || [[Frankfurt]], [[Städel|Städel Museum]]||202/177
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|[[File:Paysage par temps calme - Poussin - GettyCenter.jpg|200px]]||''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/
|[[File:Paysage par temps calme - Poussin - GettyCenter.jpg|200px]]||''Τοπίο σε ώρα ηρεμίας''||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/
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|[[File:Poussin-L’Orage-Rouen.jpg|200px]]||''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/
|[[File:Poussin-L’Orage-Rouen.jpg|200px]]||''Η θύελλα''||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/
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|[[File:Nicolas Poussin - Paysage idéal.jpg|200px]] || ''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/
|[[File:Nicolas Poussin - Paysage idéal.jpg|200px]] || ''Ιδανικό τοπίο'' ή ''Τοπίο με τρεις άντρες''||1651–1653||120 × 187 cm||Mentioned in 1746 to be at the [[Royal Palace of La Granja de San Ildefonso]] ||Madrid, Prado ||199/
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| [[File:Poussin Achille parmi les filles de Lycomède Boston.jpg|200px]] ||''[[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/
| [[File:Poussin Achille parmi les filles de Lycomède Boston.jpg|200px]] ||''Ο Αχιλλέας στην Σκύρο με τις κόρες του Λυκομήδη''||1651–c. 1653 ||97,5 x 131,1 cm|| ||Boston, Museum of Fine Arts||204/
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| [[File:Poussin Coriolan Les Andelys.jpg|200px]] ||''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
| [[File:Poussin Coriolan Les Andelys.jpg|200px]] ||''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

Έκδοση από την 21:19, 28 Σεπτεμβρίου 2016

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
Τοπίο με τρεις μοναχούς ή Μια μοναξιά ή Τοπίο με τον Άγιο Φραγκίσκο 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
Τοπίο με γυναίκα που πλένει τα πόδια της 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
Η θεραπεία του τυφλού 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
Αγία Οικογένεια 1650–c. 1651 97,8 × 129,5 cm Acquired in 1942. Cambridge (Massachusetts), Fogg Art Museum 195/54
Η Αγία Οικογένεια με την Αγία Ελισάβετ και τον μικρό Άγιο Ιωάννη Βαπτιστή σε τοπίο 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
Η διάσωση του Μωυσή 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
Αγία Οικογένεια 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
Τοπίο σε ώρα θύελλας με τον Πύραμο και την θίσβη 1651 192 x 273 cm Painted for Cassiano dal Pozzo. Acquired by the Museum in 1931. Frankfurt, Städel Museum 202/177
Τοπίο σε ώρα ηρεμίας 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/
Η θύελλα 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/
Ιδανικό τοπίο ή Τοπίο με τρεις άντρες 1651–1653 120 × 187 cm Mentioned in 1746 to be at the Royal Palace of La Granja de San Ildefonso Madrid, Prado 199/
Ο Αχιλλέας στην Σκύρο με τις κόρες του Λυκομήδη 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

  1. «Catalogue page». Découverte des collections des musées de Haute-Normandie. Ανακτήθηκε στις 4 Ιουνίου 2011. 
  2. (Γαλλικά) La Mort de la Vierge de Poussin restaurée
  3. «Notice». Kimbell Art Museum. Ανακτήθηκε στις 4 Ιουνίου 2011. 
  4. «Catalogue entry». Bidarchiv SKD. Ανακτήθηκε στις 4 Ιουνίου 2011. 
  5. «Notice Cat'zart». ensba.fr. Ανακτήθηκε στις 4 Ιουνίου 2011. 
  6. Overview – The Israel Museum
  7. (Γαλλικά) Chroniques d’acquisitions annoncées : Poussin pour Montpellier et Ingres pour le Louvre
  8. (Γαλλικά) Olivier Bonfait, 'Poussin aujourd'hui', La Revue de l'Art, vol. 119, no 1, 1998, p. 73 note 24
  9. Old master madness
  10. Dulwich picture gallery
  11. (Γαλλικά) Incroyable vol au Musée Fesch d’Ajaccio
  12. (Γαλλικά) Tribulations d'un Poussin
  13. 5093/Lot53 Christie's – Sale 5093, Lot 53
  14. Olivier Bonfait, « Poussin aujourd'hui », art. cit., p. 72 note
  15. The Rest on the Flight into Egypt
  16. Olivier Bonfait, 'Poussin aujourd'hui, art. cit', La Revue de l'Art, vol 119, (1998), page 73, note 31
  17. «Poussin painting valued at £15m fails to sell». BBC News. 8 December 2010. http://www.bbc.co.uk/news/uk-england-leicestershire-11946061. 
  18. French paintings in Germany
  19. French paintings in Germany
  20. French paintings in Germany
  21. 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

External links