Nicolas Poussinフランス, 1594–1665Saint John Baptizing in the River Jordan
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この絵画について
"My temperament compels me to look for and take pleasure in well-ordered things. I avoid confusion, which is contrary and opposed to my nature, just as light is opposed to the darkness of night," wrote Nicolas Poussin. Saint John baptizes the multitudes in an ideal landscape, framed by a tree trunk on each side. Clothed in antique costumes, the orderly followers have arranged themselves into a carefully balanced frieze. As always, Poussin approached this religious work from the tradition of order, clarity, and harmony associated with the art of ancient Greece and Rome. Poussin painted this religious scene for one of his key patrons, Roman antiquarian and scientist Cassiano dal Pozzo. Also in the 1630s, Poussin painted a series of the Seven Sacraments for Cassiano, to which this canvas may be related.
J・ポール・ゲティ美術館
作品データ
- 収蔵番号
- 71.PA.58
カタログ収録
出典
- J・ポール・ゲティ美術館
- 画像： J・ポール・ゲティ美術館 — Open Content
その頃、Nicolas Poussinの人生では
生涯をすべて見る1630s
Cassiano dal Pozzo — his chief patron
Poussin’s flowering coincided with his complete abandonment of church commissions: he gathered a circle of patrons around him but strove for independence, accepting commissions from connoisseurs without binding himself to any of them permanently. The most important was Cassiano dal Pozzo; in the surviving correspondence the relationship comes close to servitude, although the painter did not live in his house.
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.
1641
An avalanche of royal commissions
In Paris he was swamped with commissions: “The Institution of the Eucharist” for the chapel of the château of Saint-Germain-en-Laye, “The Miracle of St Francis Xavier” for the Jesuit novitiate, ceilings and vaults for the Grande Galerie of the Louvre, an allegory for Richelieu’s study, designs for tapestries and title pages for the royal printing house. For a man accustomed to working slowly and carefully it was too much.
1641–1665
Post: Premier peintre du Roi
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.
1642–1644
Richelieu, Louis XIII and Urban VIII pass away
Richelieu died in 1642, Louis XIII in 1643 and Pope Urban VIII in 1644; his successor Innocent X was less interested in art patronage and preferred Spanish culture, and the Barberini left for France. But Richelieu’s successor, Cardinal Mazarin, began to collect Poussin’s works.
![Landscape with a Calm (Un Tem[p]s calme et serein), Nicolas Poussin, 1650–1651](https://media.getty.edu/iiif/image/c68cb8b8-a473-4e07-9665-51548e31ce59/full/!1200,1200/0/default.jpg)
