Der bethlehemitische Kindermord, Nicolas Poussin, 1625 vers,1629 ou
Nicolas Poussin, PorträtNicolas PoussinFrankreich, 1594–1665

Der bethlehemitische Kindermord

LE MASSACRE DES INNOCENTS

1625 vers,1629 ou · Painting · 147 × 171 cm

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Wo ist „Der bethlehemitische Kindermord“ heute? Sammlung: Musée Condé, Chantilly. Unbekannt.

Musée Condé

Chantilly, Frankreich

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Unverändert seit
Quelle
Das Museum

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Inventarnummer
PE 305

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Quellen

  • Musée Condé
  • Bild: Musée Condé — © Harry Bréjat ; Réunion des musées nationaux - utilisation soumise à autorisation; Ministère de la Culture (France), base Joconde

Im Leben von Nicolas Poussin

Das ganze Leben
  1. 1620s

    The Cavaliere Marino takes the painter under his wing

    Poussin’s work caught the attention of the Italian poet Cavaliere Marino, then living in France; his patronage let the thirty-year-old painter work in peace. According to Bellori the poet took him into his house and helped him with the invention of subjects and the rendering of emotion, and in Marino’s house Poussin gained access to a library with treatises by Alberti and Dürer and manuscripts and drawings by Leonardo.

  2. 1623

    Marino returns to Italy and calls Poussin

    In April 1623 Marino returned to Italy and summoned Poussin to the papal court — the pontificate of Urban VIII had just begun; the painter himself was held up in Paris. As Paul Desjardins remarks, Poussin’s career is counted from his arrival in Rome.

  3. 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”.

  4. 1626

    Friends in Rome: Claude Lorrain, Stella, the Duquesnoy brothers

    In 1626 Pierre Mellin and the brothers François and Jérôme Duquesnoy lodged in his studio; he was close to Claude Lorrain and kept company with Jacques Stella and Jean Lemaire. The circle was united by a pull towards classical antiquity; despite all his disagreements with French painters, it was this milieu that helped Poussin keep his national roots.

  5. 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.

  6. 9. August 1630

    Married: Anne-Marie Dughet

Alle Werke

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