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 :. | Apollo and the Muses (Parnassus) af | Autumn | The Nurture of Jupiter sh | Acis and Galatea stg | The Empire of Flora af |
Related Artists:
Willem Romeijn
circa 1645-1694
Francesco Monti
Italian Painter, 1685-1768 Italian painter and draughtsman. He was the son of a tailor who served the Este court in Modena during the 1690s. Monti studied with the foremost painter in Modena, Sigismondo Caula (b 1637), for three years from c. 1700. In 1703 he moved to Bologna and entered the studio of Giovanni Gioseffo dal Sole. Roli (1962) defined the formative influences on Monti's art as dal Sole and Donato Creti on the one hand, and Giuseppe Maria Crespi and Antonio Gionima on the other. Monti evolved a distinctive personal idiom, characterized by graceful figures reminiscent of the style of Parmigianino, but perhaps more directly inspired by the more extravagant late Mannerist idiom of such painters as Bartholomeus Spranger and Josef Heintz I of the court of Rudolf II at Prague. Monti may have known their work through prints by Aegidius Sadeler II, Jan Muller and others. This exotic figure style, with fluent, swaying forms and faces suggestively muted by half-shadow was accompanied by unusual shades of colour that glow richly in darkened settings. Monti's art contributed to a neo-Mannerist strain in 18th-century Emilian painting
Luca Gordano
Italian Baroque Era Painter, ca.1634-1705