Poussin And Roman Influences I

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of modeling, and grandeur of composition'; Cézanne aimed at revivifying Poussin's formal perfection by a renewed contact with nature; and the early Cubists saw in him the near-abstract qualities which they themselves sought." (Blunt, 1967)
Poussin also considerably affected the newly formed institutions of French art. The accepted teachings at the Royal Academy of Painting and Sculpture, which was founded in 1648, were based upon Poussin's ideological values for art. His philosophy about the great importance of drawing as the crucial intellectual core of painting was a precept at the Academy. The new official stance on artistic value reflected Poussin's own artistic values and his belief in the superiority of history painting. Though in actuality many artist of the early eighteenth century followed his values more in belief than in actual practice, his influence is reemerges in artists like David and Ingres of the late eighteenth and early nineteenth centuries. In this paper I ...

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did not inspire his imagination or challenge his abilities. He is said to have had very little regard for his French teachers, and claimed that the most important occurrence while there was an encounter with a courtier of Marie de Médicis by the name of Courtois. Courtois gave Poussin unlimited access to the vast royal art collections containing some of the great works of Raphael as well as many other talented Italian artists which immediately captivated Poussin. The result of his fascination with these works of art as well as his zest for the Italianate style can be found in his early work. It is at this time that Poussin began to discover a passion for classicism. He tried in vain ...

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