Self-portrait Nicolas Poussin (1594-1665)
Nicolas Poussin – Self-portrait
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Image taken from other album: gallerix.org/s/1071681317/N/7297/
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Painter: Nicolas Poussin
Location: Gemäldegalerie, Berlin.
The painting was painted by the founder of such a trend in painting as classicism, in 1649. Nicolas Poussin was famous for his ability to reveal the themes of his contemporary era, often turning to themes of ancient mythology. He tried to show examples of high morality and valor, as well as trying to educate his contemporaries in the understanding of the perfect person. In his work throughout his life one can trace a consistency as well as a moral and ideological orientation.
Description of the painting "Self-Portrait" by Nicola Poussin
The painting was painted by the founder of such a trend in painting as classicism, in 1649. Nicolas Poussin was famous for his ability to reveal the themes of his contemporary era, often turning to themes of ancient mythology. He tried to show examples of high morality and valor, as well as trying to educate his contemporaries in the understanding of the perfect person. In his work throughout his life one can trace a consistency as well as a moral and ideological orientation. This was one of the reasons why his work has been recognized as a benchmark for art institutions in France. He painted his self-portrait in 1649, depicting himself at the age of 53.
In the center of the canvas is Poussin himself, dressed in a black robe that covers him tightly. Below his throat, a small white collar separates the black fabric from the skin on his neck. The long tight sleeves of the robe reach to his wrists, clinging tightly to his skin. He holds a book in his right hand and a pencil in his left. It looks as if he is about to sketch something he is looking at. And the look in his dark eyes is precisely on the viewer.
His dark, almost black hair is slicked back over his shoulders, not yet gray. A neat mustache in a thin line above his upper lip, no beard or stubble on the rest of his chin. His eyes, which are fixed upon the other side of the painting, are serene and seem to study the person on the other side. His black eyebrows and the slight wrinkles that have already appeared on his face do not spoil him in the slightest. Behind him is a brown wall with nothing but a relief carved into it.
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