Nicolas Poussin: His Life and Work

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S. Low, Marston, 1899 - Artists - 240 pages
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Page xiv - BOREL D'HAUTERIVE- Annuaire de la Noblesse de France et des maisons souveraines de l'Europe. Paris, 1849-50, br.
Page 209 - Mémoire des pièces (dessins, estampes, statues et bustes antiques) qui se sont trouvées dans le cabinet de M. Nicolas Poussin, et qui sont présentement à vendre entre les mains du sieur Jean Dughet, son héritier, en 1678. Document communiqué par M.
Page 201 - Cet important passage répond, terme pour terme, au brevet expédié à Samson Lepage, le 8 novembre 1644, et dont Jal cite le passage le plus important (Dict., p. 997) : « Le Roy bien mémoratif d'avoir cy devant accordé au s' Samson Lepage, mareschal des logis de son régiment des gardes suisses, par son brevet du 20 mai 1642, confirmatif de celuy du 5 novembre 1638, la conciergerie du pavillon de la cloche, situé dans son grand jardin des tuileries..., lequel pavillon a depuis esté occupé...
Page 207 - Vue extérieure du monastère et de l'église de la Trinité du Mont à Rome, où un autre buste du Poussin aurait pu être placé. COPIE DE L EXTRAIT MORTUAIRE DE N. POUSSIN. Fidem facio ego infrascriptus curatus ecclesiae parochialis S li Laurentii in Lucina cler.
Page 181 - ... beautiful object. There are two ways of looking at things. One is simply looking at them, whereas the other involves considering them attentively. Merely to see is nothing else than receiving into the eye the form or likeness of the object that is looked at; but to consider a thing is more than this: it is to seek with special diligence after the means of knowing this object thoroughly.
Page 33 - ... threshold at the head of the couch — no doubt the threshold of the nuptial chamber. In the further room, on the left of the spectator, are women preparing the bath ; and in the ante-room on the right, three more performing a sacrifice with songs and lute-playing. This painting, which was discovered in 1606 near the Arch of Gallienus, and named after its first possessor, Cardinal Aldobrandini, may well be a copy of a better original. The version before us is composed, not pictorially, but yet...
Page 214 - It is not enough tha^ all the parts have a suitable order or space, and that all the figures be in their natural places. There must be also " mode " to keep them within their true limits. Form, when the features are treated with grace and finesse, adds to the harmony of light and shade. True beauty detaches itself from animalism, and...
Page 152 - ... used to supply the wants of so great a multitude of people, but would have been dispersed on all sides. If, at the creation of the world, the earth had received one uniform figure, and the water had found neither channels nor hollows, the surface would have been covered with it, and useless to the animals; but, from the beginning, God disposed all things in order, and with relation to the end for which he formed his work. Therefore, at such a remarkable event as that of...
Page 180 - There can be no picture of merit brought forth on canvas without a knowledge of light, atmosphere, form, color, and perspective. Such learning belongs to the foundations or essentials of painting. First of all, then, it is necessary that the subject be in itself noble, and that it give scope for revealing the painter's mind and industry.
Page 177 - After the death of a dear friend, his virtues shine forth, petty features of character retire far into the shade, and, as time goes on, become obliterated. Thus, in the history of Nicolas Poussin, we would emphasize his industrious, simple, and contented manner of life, as well as his pure, loving, and upright relations as husband and friend. The man is greater than the artist ; he commands our respect and admiration.

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