Rev. of Pierre Rosenberg, Nicolas Poussin: Les Tableaux du Louvre (Paris: Somogy Editions de l’Art, 2015), in The Art Newspaper XXVI, no. 287 (February 2017), 14. (original) (raw)
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The review discusses Pierre Rosenberg's catalogue raisonné of Nicolas Poussin's paintings at the Louvre, highlighting its comprehensive nature and scholarship. It emphasizes Rosenberg’s expertise in the context of Poussin’s significant contributions to 17th-century art and the rich history of the works within the French royal collection. Key features include vivid pictorial analysis and lavish presentation of the artworks, aiming to enhance appreciation for Poussin’s unique painterly style.
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Leonardo da Vinci and the ethics of style, 2008
It is the treatment of the subject matter, then, that makes the speech admirable; the facts themselves are easy enough to acquire. (Cicero, Orator, 122) In the context of the unifying theme of this volume-Leonardo's exemplary status in the history of style-this chapter examines the seminal infl uence of his Trattato della Pittura in the formulation in France in the latter part of the seventeenth century of a theory of art that was to endure as an ideal of academic painting for more than two hundred years. 1 It appears that the critical infl uence of Leonardo in this regard was owing as much, if not more, to a handful of paintings produced by Nicolas Poussin in Rome in the years prior to the editio princeps than to the text itself, which did not appear until 1651 when it was published in Paris in the original Italian by Raphael du Fresne, with a translation in French the same year by Roland Fréart Sieur de Chambray. 2 With access in Rome in the 1630s, through his patron Cassiano dal Pozzo, to Leonardo's notes in manuscript, Poussin anticipated the published Trattato-in which he participated as illustrator-by giving ideal expression to a majority of theoretical precepts it contains in works produced between 1634 and 1651. It is the purpose here to examine the critical role played by Poussin's Israelites Gathering Manna in the Wilderness (Plate 8), painted between 1637 and 1639 for Paul Fréart de Chantelou, in effectively introducing Leonardo's ideas into the mainstream of French academic thought. 3 Poussin's Manna occupies a preeminent position in the history of French academic painting. It was largely from the conférence on the Manna atthe Académie royale de peinture et de sculpture in 1667 delivered by the institution's fi rst director Charles Le Brun that the principal tenets of the new theory of art were drawn. 4 The theory, which placed the highest value on history painting and the choice and unity of subject
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