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  3. L'ENFANCE DE BACCHUS
L'ENFANCE DE BACCHUS, Nicolas Poussin, 1630 vers
Nicolas Poussin肖像Nicolas Poussin法国, 1594–1665

L'ENFANCE DE BACCHUS

1630 vers · Painting · 135 × 168 cm

可否一睹真容?

未知

孔
孔蒂博物馆

尚蒂伊, 法國

所有者已知,目前是否展出尚不清楚。

此状态始于
2026年10月5日
出处
博物馆
在地图上看博物馆页面

作品信息

1630 vers · 36岁
15941665
馆藏编号
PE 298

画面内容

Scène mythologique (Bacchus : enfant, nu, sommeil, Silène, nymphe : nudité, satyre, couronne, feuille : vigne),vaisselle,pot,feuillu,fond de paysage

已收入目录

绘画油画法国绘画巴洛克17 世纪法国

出处

  • 孔蒂博物馆
  • 图片: 孔蒂博物馆 — © R.G. Ojeda ; Réunion des musées nationaux - utilisation soumise à autorisation; Ministère de la Culture (France), base Joconde

与此同时,在Nicolas Poussin的生活中

完整生平
  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. 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.

  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. 1630年8月9日

    Married: Anne-Marie Dughet

  5. 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.

  6. 1632

    Elected to the Academy of St Luke

    In 1632 Poussin was elected a member of the Academy of St Luke — two years after he had given up monumental commissions for cabinet painting.

Nicolas Poussin的更多作品

全部作品
The Abduction of the Sabine Women, Nicolas Poussin, probably 1633–34

The Abduction of the Sabine Women

probably 1633–34 · 大都會藝術博物館

Blind Orion Searching for the Rising Sun, Nicolas Poussin, 1658

Blind Orion Searching for the Rising Sun

1658 · 大都會藝術博物館

La Sainte Famille avec saint Jean, sainte Elisabeth et saint Joseph priant, Poussin, Nicolas, Milieu du XVIIe siècle (vers 1650 - 1951)

La Sainte Famille avec saint Jean, sainte Elisabeth et saint Joseph priant

Milieu du XVIIe siècle (vers 1650 - 1951) · 卢浮宫博物馆

Victory of Joshua over the Amalekites, Nicolas Poussin, 1623

Victory of Joshua over the Amalekites

1623 · 埃尔米塔日博物馆

Mars et Vénus, Poussin, Nicolas, 1e tiers du XVIIe siècle (vers 1625)

Mars et Vénus

1e tiers du XVIIe siècle (vers 1625) · 卢浮宫博物馆

Bacchanale à la joueuse de guitare, Poussin, Nicolas, 2e quart du XVIIe siècle (vers 1625)

Bacchanale à la joueuse de guitare

2e quart du XVIIe siècle (vers 1625) · 卢浮宫博物馆

La Nourriture de Bacchus, Poussin, Nicolas, 2e quart du XVIIe siècle (vers 1626)

La Nourriture de Bacchus

2e quart du XVIIe siècle (vers 1626) · 卢浮宫博物馆

The Agony in the Garden, Nicolas Poussin, 1626–27

The Agony in the Garden

1626–27 · 大都會藝術博物館