Descent from the cross Nicolas Poussin (1594-1665)
Nicolas Poussin – Descent from the cross
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Painter: Nicolas Poussin
Location: Hermitage, St. Petersburg (Эрмитаж).
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Nicolas Poussin was a representative of 17th-century French classicism. From an early age he loved to paint. His love of biblical subjects came from the local painter Varennes, who painted several paintings in the altar of the local church. This, for the young artist, played no small part in his choice of direction. In his works one can see the mind put at the head of the matter, he thinks over every detail, works hard on every line.
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A description of Nicolas Poussin’s painting The Descent from the Cross
Nicolas Poussin was a representative of 17th-century French classicism. From an early age he loved to paint. His love of biblical subjects came from the local painter Varennes, who painted several paintings in the altar of the local church. This, for the young artist, played no small part in his choice of direction.
In his works one can see the mind put at the head of the matter, he thinks over every detail, works hard on every line. It seems that the artist is saturated with the subject, that he has studied it completely, from beginning to end. He displays all his feelings, emotions on the canvas, forcing people to empathize with the event.
Poussin, in his Hermitage painting The Descent from the Cross, conveys a sense of grief, great sadness, which permeates the face of Mary. It is as if the women themselves are experiencing the anguish endured by the only sinless one who suffered for each of us. The artist emphasized the oldness of her face, the weariness of her suffering, her experience, her heart ready to break into pieces. She folded her hands in pleading.
Women’s clothes merge with the general background of the painting, the artist has chosen a dark - red color, which involved in the overall background of the canvas. The landscape reveals the drama of the situation. The sky stuns with its ominousness as if to say that the payback time for the deeds is not far off. The sky, cast in an unprecedented red dawn, merges into the whole composition, it intensifies the feeling that embraced all the faces in this episode. A strong contrast to the scarlet and dark blue is the light, almost white clothing of Jesus Christ, the white cloth on the cross.
Our Lord’s body merges with the hue of the two innocent babies, the angels, mourning with the women, and encircling Jesus’ feet in deep sorrow. This picture shows the contrast of good and evil, the drama of the episode, and the retribution that follows the events.
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The picture has something of this: people, man, pain, group, two, wear, position, elderly, woman, injury, veil, kneeling, child, god, recreation.
Perhaps it’s a painting of a man laying on top of a bed next to a woman with a child on her lap and another man standing next to him.