Search Results for poussin

... and Experience in the Age of Descartes. By Christopher Braider. Toronto: University of Toronto Press, 2012. xii + 340 pp. Five of the six chapters composing The Matter of Mind explore works by an equal number of major figures of French classicism: Nicolas Poussin, Pierre Corneille, Molière, Blaise...

... to Gray. Of great importance here are the popularity of the later Italian painters in England (notably the Carracci, Guido Reni, Domenichino, Nicolas Poussin), the combination of naturalistic pictonalism (enargek) with the conveying of “sophisticated moral and psychological truth” (p...

... on the cultural background and the artistic achievements of the major English poets from Dryden to Gray. Of great importance here are the popularity of the later Italian painters in England (notably the Carracci, Guido Reni, Domenichino, Nicolas Poussin), the combination of naturalistic...

... of analogous cultural constructs-for example, Najd and Arcadia, two impoverished backwaters of empire, becoming settings for the poetry of nostalgia ( I i4)-to suggestive flashes, such as calling up the “unduly sad, nntiqiiarian, classicist landscapes” (69) of Poussin and Claude over a poem in which...

... of jealousy, a tangible indication of his fascination, enters his corres- pondence in a letter to Mme Hanska: “Je ne suis jaloux que des morts illustres: Beethoven, Michel-Ange, Raphael, le Poussin, Milton . . .” (Lettres, I, 156-57); and in 1835 in Se‘raphita his emotional agitation continues...

... Alpers’s masterly book on pastoral reproduces a painting by Poussin in which shepherds gather around the tomb of one of their number, reading the words “Et in Arcadia Ego” [Even in Arcadia am I]. The painting, with its mourning convocation of shepherds and its acknowledgment of death even...

... of the king’s two bodies; and (3) the illustration of the theory of representation in academic painting, such as that of Nicolas Poussin, who propounded an aesthetic of the sublime that undermined the mimetic transparency of the iconic sign. Along with these multiple layers of contexts—at once theological...

...-wzuis attention! [raising his forefinger]-on one condition : namely that it be also said that nothing in them is untrue.” He went on to say, “Car rien n’est faux dam Hamlet en ce qui concerne I’histoire du Daneniark. C‘est autre chose.” He brought up the example of Poussin. Toussin went...

... in England.lB The advo- cates of the new movement drew consciously on literature, notably Milton’s descriptions of the Garden of Eden; on the landscapes of Claude Lorrain, Salvator Rosa, Poussin, Dughet (known as Gaspar Poussin), and those of the Continental and English painters who l7 A Six...

... Equivalents: Tableau Synop- ti ue de 1650 B 1810,” Haruard Studies and Notes in Philology and Literature, XIX (lh), 48. 28 TRAVEL LITERATURE talents of three painters: the “delicate sunshine” of Claude Lorrain, the “grand pencil” of Poussin, and the “horror...

... of “Windsor For- est a “country Kate,” a “fisher” and his girl. Comments on the styles of Beaumont, Savage, Salvator Rosa, Poussin, Claude, and Gainsborough then culminate in a final tribute to the painter whose work was at hand. Scenes like...

... of the effect of the great oil landscapes of Claude Lorrain, Nicolas Poussin, and Salvator Rosa, whereby the poet (echoing his painterly forebears) directs the reader’s eye ceaselessly toward the horizon. Barrell’s ( 1972 : 22) discussion of the topographical poetry of James Thomson (especially The Seasons...

... of threatening realities that he had earlier employed it to suppress. Indiana University *O “Et in Arcndiu Ego: Poussin and the Elegiac Tradition,” Meaning in the Visziul Arts (Garden City, 1955), pp. 299-301. ...

... However, Barolsky notes in passing, the question of the artist haunted by the fear that he has no talent is not one that “we will nd in the story of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two other questions: when and why did this apparent...

... of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two other questions: when and why did this apparent swerve away from the main path charted in Barolsky’s history occur? These questions he might have further pursued by linking failure to the related themes...

... days fruitlessly hacking away at his nal Pietà However, Barolsky notes in passing, the question of the artist haunted by the fear that he has no talent is not one that “we will nd in the story of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two...

... days fruitlessly hacking away at his nal Pietà However, Barolsky notes in passing, the question of the artist haunted by the fear that he has no talent is not one that “we will nd in the story of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two...

... of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two other questions: when and why did this apparent swerve away from the main path charted in Barolsky’s history occur? These questions he might have further pursued by linking failure to the related themes...

... of the artist haunted by the fear that he has no talent is not one that “we will nd in the story of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two other questions: when and why did this apparent swerve away from the main path charted in Barolsky’s...

... of the artist from Apelles and Zeuxis to Raphael, Rubens, Poussin, and Rembrandt” This raises two other questions: when and why did this apparent swerve away from the main path charted in Barolsky’s history occur? These questions he might have further pursued by linking failure to the related themes...