Paganrod: Nicolas Poussin: the Art of Myth and Reason

Nicolas Poussin, one of the most venerated French painters of all time, gained recognition during his lifetime by re-establishing the link with Antiquity and Renaissance.

At the same time his creations were in the spirit of the forthcoming Age of Enlightenment.

He had also brought a stoic beauty to the art, in times of lavish Baroque and cellulite-stricken fat ladies from Rubens paintings. Also, unlike Rubens, Poussin worked alone all his life, never having any assistants; even so, he left staggering number of more then 100 paintings.

Living in feverish religious times his private views were that of pantheism rather then theism and, as it is evident in his correspondences, he inclined most to the philosophy of neo-Stoic followers of his times.

The works in Paris (none of these survives) brought Poussin to the attention of Giambattista Marino, one of the greatest Italian poets, who encouraged him to visit Italy. He fell in love with the Italian landscape and culture and was to live there for the rest of his life (except for the later, unhappy stay in Louis XIII court as the First Painter to the King).

Many of his early works in Italy, influenced by Titian and the Venetian art, are romantic mythologies but Poussin had resigned from this style eventually. His work became more rational and geometrical, foretelling the Age of Reason in art. Nevertheless the main theme was inspired by Classicism and Antiquity.

In 1647 Poussin invented “theory of the modes" implementing the principle of the ancient music modes; it occurred to be of great importance to the artists in the following centuries.

At the end of his life he concentrated "on the cycles and processes of the natural world and their omnipotence over mankind" (Encyclopedia Britannica) which perfectly reflect his practical and philosophical observance of life. He was gratelully farewelled by the French painters and theorists at his deathbed time for having revived the tradition of the ancients and the Renaissance.

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In our virtual Gallery below we do not exhibit his supreme landmark art apart from the mysterious Et In Arcadia Ego (the others thought to be: The Dead of Germanicus, The Rape of Sabine Women, The Four Seasons). Following, more or less chronological order, are paintings of Pagan provenience and classical structure. Twelve of all his works chosen (plus Et In Arcadia Ego), tell a illustrated, symbolic narrative, rich in colour and form, where life, love and death interplay in the everlasting dance of Creation.