LaurieAnnie's photos with the keyword: Poussin

The Abduction of the Sabine Women,probably 1633–34 Object Details Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome) Date: probably 1633–34 Medium: Oil on canvas Dimensions: 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) Classification: Paintings Credit Line: Harris Brisbane Dick Fund, 1946 Accession Number: 46.160 According to Roman mythology, the neighboring Sabines were invited to a festival with the intention of forcibly retaining their young women as wives. When the Roman leader Romulus raised his cloak, his warriors seized the women. This dramatic story gave Poussin the opportunity to display his command of gesture and pose and his knowledge of ancient sculpture and architecture. The man at the right wears a yellow lorica made of leather. The painting belonged to the maréchal de Créquy, who was the French ambassador to Rome from June 1633 to July 1634, and then to Cardinal Richelieu. Text from: www.metmuseum.org/art/collection/search/437329

The Abduction of the Sabine Women,probably 1633–34 Object Details Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome) Date: probably 1633–34 Medium: Oil on canvas Dimensions: 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) Classification: Paintings Credit Line: Harris Brisbane Dick Fund, 1946 Accession Number: 46.160 According to Roman mythology, the neighboring Sabines were invited to a festival with the intention of forcibly retaining their young women as wives. When the Roman leader Romulus raised his cloak, his warriors seized the women. This dramatic story gave Poussin the opportunity to display his command of gesture and pose and his knowledge of ancient sculpture and architecture. The man at the right wears a yellow lorica made of leather. The painting belonged to the maréchal de Créquy, who was the French ambassador to Rome from June 1633 to July 1634, and then to Cardinal Richelieu. Text from: www.metmuseum.org/art/collection/search/437329

The Companions of Rinaldo Nicolas Poussin (French, 1594–1665) Oil on canvas 46 1/2 x 40 1/4 in. (118.1 x 102.2 cm) Gift of Mr. and Mrs. Charles Wrightsman, 1977 (1977.1.2) Born in Normandy and trained in Paris, Poussin settled in Rome in 1624 and fell under the spell of classical antiquity. This picture dates shortly before 1633 and belonged to the antiquary and collector Cassiano dal Pozzo. It illustrates an episode from Tasso's heroic Crusader poem Jerusalem Delivered (1580), in which the Christian knights Carlo and Ubaldo confront a dragon in their attempt to rescue Rinaldo from a pagan sorceress. As the first Crusade took place in the eleventh century, their antique Roman arms and armor are anachronistic. Text from: www.metmuseum.org/toah/works-of-art/1977.1.2

The Companions of Rinaldo Nicolas Poussin (French, 1594–1665) Oil on canvas 46 1/2 x 40 1/4 in. (118.1 x 102.2 cm) Gift of Mr. and Mrs. Charles Wrightsman, 1977 (1977.1.2) Born in Normandy and trained in Paris, Poussin settled in Rome in 1624 and fell under the spell of classical antiquity. This picture dates shortly before 1633 and belonged to the antiquary and collector Cassiano dal Pozzo. It illustrates an episode from Tasso's heroic Crusader poem Jerusalem Delivered (1580), in which the Christian knights Carlo and Ubaldo confront a dragon in their attempt to rescue Rinaldo from a pagan sorceress. As the first Crusade took place in the eleventh century, their antique Roman arms and armor are anachronistic. Text from: www.metmuseum.org/toah/works-of-art/1977.1.2

The Abduction of the Sabine Women,probably 1633–34 Object Details Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome) Date: probably 1633–34 Medium: Oil on canvas Dimensions: 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) Classification: Paintings Credit Line: Harris Brisbane Dick Fund, 1946 Accession Number: 46.160 According to Roman mythology, the neighboring Sabines were invited to a festival with the intention of forcibly retaining their young women as wives. When the Roman leader Romulus raised his cloak, his warriors seized the women. This dramatic story gave Poussin the opportunity to display his command of gesture and pose and his knowledge of ancient sculpture and architecture. The man at the right wears a yellow lorica made of leather. The painting belonged to the maréchal de Créquy, who was the French ambassador to Rome from June 1633 to July 1634, and then to Cardinal Richelieu. Text from: www.metmuseum.org/art/collection/search/437329

The Abduction of the Sabine Women,probably 1633–34 Object Details Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome) Date: probably 1633–34 Medium: Oil on canvas Dimensions: 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) Classification: Paintings Credit Line: Harris Brisbane Dick Fund, 1946 Accession Number: 46.160 According to Roman mythology, the neighboring Sabines were invited to a festival with the intention of forcibly retaining their young women as wives. When the Roman leader Romulus raised his cloak, his warriors seized the women. This dramatic story gave Poussin the opportunity to display his command of gesture and pose and his knowledge of ancient sculpture and architecture. The man at the right wears a yellow lorica made of leather. The painting belonged to the maréchal de Créquy, who was the French ambassador to Rome from June 1633 to July 1634, and then to Cardinal Richelieu. Text from: www.metmuseum.org/art/collection/search/437329

The Abduction of the Sabine Women,probably 1633–34 Object Details Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome) Date: probably 1633–34 Medium: Oil on canvas Dimensions: 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) Classification: Paintings Credit Line: Harris Brisbane Dick Fund, 1946 Accession Number: 46.160 According to Roman mythology, the neighboring Sabines were invited to a festival with the intention of forcibly retaining their young women as wives. When the Roman leader Romulus raised his cloak, his warriors seized the women. This dramatic story gave Poussin the opportunity to display his command of gesture and pose and his knowledge of ancient sculpture and architecture. The man at the right wears a yellow lorica made of leather. The painting belonged to the maréchal de Créquy, who was the French ambassador to Rome from June 1633 to July 1634, and then to Cardinal Richelieu. Text from: www.metmuseum.org/art/collection/search/437329

The Abduction of the Sabine Women,probably 1633–34 Object Details Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome) Date: probably 1633–34 Medium: Oil on canvas Dimensions: 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm) Classification: Paintings Credit Line: Harris Brisbane Dick Fund, 1946 Accession Number: 46.160 According to Roman mythology, the neighboring Sabines were invited to a festival with the intention of forcibly retaining their young women as wives. When the Roman leader Romulus raised his cloak, his warriors seized the women. This dramatic story gave Poussin the opportunity to display his command of gesture and pose and his knowledge of ancient sculpture and architecture. The man at the right wears a yellow lorica made of leather. The painting belonged to the maréchal de Créquy, who was the French ambassador to Rome from June 1633 to July 1634, and then to Cardinal Richelieu. Text from: www.metmuseum.org/art/collection/search/437329

Saints Peter and John Healing the Lame Man, 1655 Nicolas Poussin (French, 1594–1665) Oil on canvas 49 1/2 x 65 in. (125.7 x 165.1 cm) Marquand Fund, 1924 (24.45.2) At the temple in Jerusalem where the old and infirm beg alms, Peter and John cure a cripple (Acts III:1–10): "Then Peter said, Silver and gold have I none; but such as I have give I thee: In the name of Jesus Christ of Nazareth rise up and walk." The composition recalls Raphael, and the gestures of the central group are reminiscent of Michelangelo's Creation of Adam in the Sistine Chapel. Text from: www.metmuseum.org/toah/works-of-art/24.45.2

Saints Peter and John Healing the Lame Man, 1655 Nicolas Poussin (French, 1594–1665) Oil on canvas 49 1/2 x 65 in. (125.7 x 165.1 cm) Marquand Fund, 1924 (24.45.2) At the temple in Jerusalem where the old and infirm beg alms, Peter and John cure a cripple (Acts III:1–10): "Then Peter said, Silver and gold have I none; but such as I have give I thee: In the name of Jesus Christ of Nazareth rise up and walk." The composition recalls Raphael, and the gestures of the central group are reminiscent of Michelangelo's Creation of Adam in the Sistine Chapel. Text from: www.metmuseum.org/toah/works-of-art/24.45.2

Saints Peter and John Healing the Lame Man, 1655 Nicolas Poussin (French, 1594–1665) Oil on canvas 49 1/2 x 65 in. (125.7 x 165.1 cm) Marquand Fund, 1924 (24.45.2) At the temple in Jerusalem where the old and infirm beg alms, Peter and John cure a cripple (Acts III:1–10): "Then Peter said, Silver and gold have I none; but such as I have give I thee: In the name of Jesus Christ of Nazareth rise up and walk." The composition recalls Raphael, and the gestures of the central group are reminiscent of Michelangelo's Creation of Adam in the Sistine Chapel. Text from: www.metmuseum.org/toah/works-of-art/24.45.2

Saints Peter and John Healing the Lame Man, 1655 Nicolas Poussin (French, 1594–1665) Oil on canvas 49 1/2 x 65 in. (125.7 x 165.1 cm) Marquand Fund, 1924 (24.45.2) At the temple in Jerusalem where the old and infirm beg alms, Peter and John cure a cripple (Acts III:1–10): "Then Peter said, Silver and gold have I none; but such as I have give I thee: In the name of Jesus Christ of Nazareth rise up and walk." The composition recalls Raphael, and the gestures of the central group are reminiscent of Michelangelo's Creation of Adam in the Sistine Chapel. Text from: www.metmuseum.org/toah/works-of-art/24.45.2

Saints Peter and John Healing the Lame Man, 1655 Nicolas Poussin (French, 1594–1665) Oil on canvas 49 1/2 x 65 in. (125.7 x 165.1 cm) Marquand Fund, 1924 (24.45.2) At the temple in Jerusalem where the old and infirm beg alms, Peter and John cure a cripple (Acts III:1–10): "Then Peter said, Silver and gold have I none; but such as I have give I thee: In the name of Jesus Christ of Nazareth rise up and walk." The composition recalls Raphael, and the gestures of the central group are reminiscent of Michelangelo's Creation of Adam in the Sistine Chapel. Text from: www.metmuseum.org/toah/works-of-art/24.45.2

Discovery of Achilles on Skyros about 1649–50 Nicolas Poussin, French (active in Rome), 1594–1665 Dimensions: 97.5 x 131.1 cm (38 3/8 x 51 5/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Mythological Accession Number: 46.463 Knowing that her son was destined to die if he fought in the Trojan War, Achilles's mother disguised him as a woman and hid him on the island of Skyros among the daughters of King Lycomedes. Sent to find Achilles, the Greek chieftains Ulysses and Diomedes disguised themselves as merchants. As they hoped, Achilles gave himself away by snatching up a sword that they had concealed in their chests of jewelry and clothing. Poussin preferred psychological to physical drama; in ...this late work, a moment of revelation and recognition is presented by means of figures frozen into carefully structured, clearly legible poses. Text from: www.mfa.org/collections/object/discovery-of-achilles-on-s...