1, character introduction

Nicolas poussin (1594- 1665) was an important French baroque painter in17th century and the founder of French classical painting in17th century. He worshipped the Renaissance masters Raphael and Titian, and was fascinated by the study of Greek and Roman cultural heritage.

Most of Pu Sang's works are based on myths, historical and religious stories. Although the frame is not large, it is carefully crafted, striving for rigorous sketch and perfect composition.

2. Personality influence

As a master of classicism, Pu Sang has a far-reaching influence in the history of French painting: Delacroix appreciated his bold originality, David and Angel inherited his preciseness and simplicity, and Cezanne benefited from his rationality.

3. The life of the character

Early years: nicolas poussin was born in Le Sundli, Normandy, western France, to a family of retired soldiers who managed a small plot of land. Born in a poor family, the father wanted his only son to become a lawyer, but his son was fascinated by painting.

Incubation: Pu Sang studied Greek and Roman literature and art when he was young, and was familiar with the poetry, mathematics, anatomy and perspective of Renaissance masters. His erudition laid the foundation for Pu Sang's later classical artistic creation which focused on rationality.

Prosperity: 1630 to 1640 is the prosperity of Pu Sang's creation. Pu Sang took classical rationality as the leading factor and applied classical formal beauty to his own creation. Pu Sang often controls his emotions in the process of creation, so as not to let the characters be moved by emotions, and try his best to make the picture unified, harmonious, solemn, elegant and perfect.

Exploration period: 1640, Pu Sang was invited by Louis XIII to return to France as the chief painter of the palace and led the decoration of the palace. But the hostility and non-cooperation of other painters made Pu Sang leave angrily.

1642, Pu Sang left France, returned to Italy, and never wanted to return to Paris. 1642 After Pu Sang returned to Rome, he no longer pursued honor, but devoted himself to painting and explored on endless artistic paths.

Nicolas poussin's works

1, the inspiration of the poet

At the beginning of 1630, Raphael painted a famous mural in Rome called panas, and nicolas poussin's oil painting The Poet's Inspiration also had the same theme: Apollo was on the panas Mountain where he lived, with a harp on his knee and a muse standing next to him, and Apollo was pointing.

Pu Sang's oil painting "The Poet's Inspiration" was privately collected, but it never entered the palace for public appreciation. It was not until the early 20th century that the light of day came to light. Since then, the poet's inspiration has become one of the most famous works of French classicism, just like a newly unearthed gem.

2. Shepherds in Acadia

The famous Shepherd of Arcadia has a rather obscure meaning and has always been an unfathomable work in the history of art.

"Xanadu" is a paradise in ancient legends. The painting shows a quiet wilderness, with warm sunshine in front of the cemetery and only a few sparse trees.

The background is a clear blue sky. Four shepherds with crowns on their heads and sticks in their hands are gathering at a tombstone to study the inscription. A shepherd with a beard and rosy cheeks knelt down and read the inscription on the tablet. He turned to a female shepherd on the right and said something. The Latin inscription on the stone reads: "Even in Acadia, there is me."

3. the virgin on the steps

The Madonna on the steps is hardly like a traditional religious painting. The treatment of the virgin, the son, Santa Anna and John the Baptist seems to be subject to a creative thinking.

The painter is most concerned about standardization: the stable triangular composition, the red and blue skirt of the Virgin Mary, the yellow robe of Santa Anna, and the black vestment of St. Joseph on the right. These bright color contrasts have serious aesthetic value.

Roman architecture is also used as the background. The whole picture lacks religious meaning, but there is no Raphael's family interest. It gives people a sense of harmony and symmetry, and reveals the artist's spirit of clinging to classical art norms from the composition.