Descent from the Cross, Nicolas Poussin, 17th century
Nicolas Poussin, portrætNicolas PoussinFrankrig, 1594–1665

Descent from the Cross

17th century · Painting · 119.5 × 99 cm

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Hvor er »Descent from the Cross« i dag? Samling: Eremitagen, Sankt Petersborg. Ikke udstillet lige nu. Kontrolleret 29. august 2026.

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Sankt Petersborg, Rusland

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Никола Пуссен - самый яркий представитель французского классицизма первой половины XVII в. Большинство его работ на библейские и евангельские темы имеют редкую и необычную иконографию. Непосредственно у подножия креста близкие оплакивают Иисуса: художник соединил два сюжета: "Снятие с креста" и "Оплакивание". Св. Иоанн бережно поддерживает мертвое тело Спасителя, Мария склонилась над сыном в скорбном рыдании. "Снятие с креста" - раннее произведение Пуссена, отмеченное влиянием барочного искусства. Резкий контраст между грозовой черной тучей и большим белым плáтом, который делит композицию по диагонали, создает ощущение эмоциональной напряженности и усиливает трагизм сцены.

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ГЭ-1200

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Imens i livet hos Nicolas Poussin

Hele livet
  1. c. 1612

    At eighteen he runs away to Paris

    His parents apparently opposed a painting career for him, and around 1612 he ran away to Paris, in the regency of Marie de’ Medici, when art was flourishing thanks to her commissions and to wealthy merchants. But Poussin was not a member of the powerful guild of master painters and sculptors, which held a monopoly on most commissions and brought lawsuits against outsiders trying to break into the profession.

  2. spring 1624

    Spring 1624: Poussin arrives in Rome

    According to Bellori Poussin settled in Rome in the spring of 1624 (other accounts say he first visited Venice); the lists of the church of San Lorenzo in Lucina name him from March 1624 among twenty-two people, mostly French artists, living in the house of Simon Vouet. He studied Raphael, while Caravaggio, whose literal materiality repelled him, he held to have come “to destroy painting”.

  3. 1630

    Gives up monumental commissions

    In 1630 the commission headed by Domenichino and d’Arpino gave the decoration of the Chapel of the Immaculate Conception in San Luigi dei Francesi to the Lorrainer Charles Mellin, not to Poussin. After that he firmly renounced the monumental genre and turned to “cabinet painting” for private patrons.

  4. 1640

    December 1640: Poussin returns to Paris

    François Sublet de Noyers, Superintendent of the King’s Buildings, whose invitations Poussin had declined, sent his cousins Roland and Paul Fréart to Rome, offering the title of First Painter to the King and a substantial residence at the Tuileries. Poussin yielded, and in December 1640 he was back in Paris.

  5. autumn 1642

    Finds a pretext and leaves for Rome for good

    Increasingly unhappy with court intrigue and the weight of commissions, in the autumn of 1642, while the king and court were in Languedoc, Poussin found a pretext to leave Paris and returned to Rome permanently.

  6. 19. november 1665

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