French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,  Related Paintings of POUSSIN, Nicolas :. | Pan and Syrinx fh | The Plague at Ashdod asg | The Nurture of Bacchus (detail) af | Self-Portrait | Bacchanal before a Statue of Pan zg |
Related Artists:
Miel, Jan
Dutch Baroque Era Painter, ca.1599-1664 Flemish painter, active in Italy. Miel must have arrived in Rome in the early 1630s; he immediately came under the influence of Pieter van Laer (il Bamboccio) and the BAMBOCCIANTI. His earliest paintings of bambocciate (low-life scenes) are the Bowls Players (1633; Paris, Louvre) and its companion piece The Cobbler (Besan?on, Mus. B.-A. & Arch?ol.). Shortly after his arrival in Rome, Miel joined the Schildersbent, a confraternity of Netherlandish artists, and was given the nickname 'Bieco' ('threatening look'). His presence in Rome is documented from 1636 to 1658, when he moved to Turin and entered the service of Charles-Emanuel II, Duke of Savoy. Other early paintings that can be attributed to the 1630s include Halt at the Inn (Marseille, Mus. B.-A.) and Hunters' Rest (Warsaw, N. Mus.). Both are reworkings, in their subject-matter and composition, of contemporary paintings by van Laer
Paul von Franken
(1818- 1884 ) - Painter painted Paul von Franken. View of Tiflis in 1866
Gustaf Fjaestad
Swedish 1868-1948 Swedish painter, printmaker and designer. He trained at the Royal Academy of Arts in Stockholm in 1891-2. Subsequently he studied with Bruno Liljefors and Carl Larsson, assisting them with such decorative schemes as Larsson's fresco at the Nationalmuseum, Stockholm (1896). In 1897 he moved to the Arvika district of V?rmland, where he worked together with his wife, Maja (1873-1961), as painter, craftsman and cabinetmaker, and gathered around him a circle of artists who became known as the Racken group. He first achieved public recognition at the Stockholm Artists Union exhibition in 1898 with some of his snow landscapes, which were an immediate popular success and were often reproduced. He had his first one-man exhibition in Stockholm in 1908,