Allegorie van Gerechtigheid, Nicolas Poussin, 1637 - 1639
Nicolas Poussin, retratoNicolas PoussinFrança, 1594–1665

Allegorie van Gerechtigheid

1637 - 1639 · Drawing

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Amesterdão, Países Baixos

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RP-T-1964-202

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Na vida de Nicolas Poussin

A vida inteira
  1. 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.

  2. 1630s

    Brother-in-law Gaspard Dughet — his first pupil

    After the wedding Poussin went on living in the house on the Via Paolina; with him lived Anne-Marie’s brother Gaspard Dughet, the future well-known landscape painter, and from 1636 his younger brother Jean. Poussin became Gaspard’s first teacher, and Gaspard later took his surname; the marriage seems to have been a happy one, but childless.

  3. 1635

    Richelieu commissions “Bacchanals” and “The Birth of Venus”

    His first French commissions came from the envoy François de Créquy and then from Cardinal Richelieu — a series of “Bacchanals”; for Richelieu he also created “The Birth of Venus” (1635), an elaborate composition full of dynamic figures.

  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. 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.

  6. 1641–1665

    Post: Premier peintre du Roi

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