Nicolas Poussin프랑스, 1594–1665Apollo and the Muses on Mount Parnassus
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〈Apollo and the Muses on Mount Parnassus〉는 지금 어디에 있나요? 소장처: J. 폴 게티 미술관, 로스앤젤레스. 현재 전시하지 않습니다. 확인일 2026년 10월 7일.
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작품 소개
Poussin drew Apollo and the Muses on Mount Parnassus around 1626–1628; the sheet belongs to the J. Paul Getty Museum, Los Angeles. Apollo plays a lira di braccio among the nine Muses, Homer and Virgil beside the Castalian spring. Poussin adapted an engraving after Raphael's Vatican fresco, shifting Apollo left of centre. The remaining figures form a semicircle that leads the eye through the trees towards airborne putti. Fine pen marks contrast with soft washes to give the moving figures volume. The spring was celebrated in antiquity as a source of learning and inspiration.
미술관의 설명
The nine Muses, goddesses of poetic inspiration and the creative arts, surround the god Apollo, who plays a *lira di braccio* . With Homer and Virgil, they gather along the Castalian spring, which flows through the center of the scene. Famous in ancient times as a source of inspiration and learning, this place was appropriate for making music and contemplating the beauty of Mount Parnassus. Nicolas Poussin created an animated scene full of movement, not only through the composition and arrangement of the figures but also through his drawing style. He based the composition for this drawing on an engraving by Marcantonio Raimoni after Raphael's *Parnassus* fresco in the Vatican, placing the figure of Apollo to the left of the center. The semi-circular arrangement of the other figures draws the viewer's eye around the scene and up through the trees to the putti in the air. The soft washes contrast with the fine pen lines, giving the drawing a lively sense of three dimensions.
J. 폴 게티 미술관
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Nicolas Poussin의 생애 속 이 작품
생애 전체 보기1620s
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.
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”.
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.
c. 1629
A grave illness: the Dughet family nurses Poussin
Around 1629 Poussin fell gravely ill and was nursed by the family of the French pastry-cook Dughet; on recovering he became engaged to the eldest daughter, Anne-Marie. The wedding in the church of San Lorenzo in Lucina took place on 1 September 1630.
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.
1630년 8월 9일
Married: Anne-Marie Dughet
