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List of paintings by Nicolas Poussin

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This page is a list of paintings by Nicolas Poussin (Andelys, 15 June 1594 – Rome, 19 November 1665). The attributions vary notably from one art historian to another. Jacques Thuillier, one of the most restrictive, produced a list in 1994 that gave 224 uncontested autograph works and 33 works with minor or major doubts about their attribution to Poussin. Certain attributions have since changed, when paintings thought lost are rediscovered, meaning that this list cannot be considered exhaustive.

List

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This list includes paintings whose locations have been definitely found. The numbers refer to the two last 'catalogues raisonnés' cited in the sources : Thuillier 1994 and Blunt 1966.

Tableau Title Date Dimensions Notes Collection Number in the
Thuillier/Blunt catalogues
Saint Denis the Areopagite crowned by an angel 1620–1621 c. 173 x 108 cm Painting from the église Saint-Germain-l'Auxerrois (Paris)[1] Rouen, musée des beaux-arts 3/R51
The Death of Chione 1622 109,5 x 159,5 cm Attributed by Denis Mahon in 1998.[2] Bought in 2016.[3] Lyon, musée des beaux-arts
Death of the Virgin 1623 202 x 137 cm From a retable commissioned by the archbishop of Paris Jean-François de Gondi for Notre-Dame de Paris, seized at the French Revolution and deposited in the Louvre, sent to Brussels in 1803, considered to be a copy, disappeared in 1814. Rediscovered in 2000 at Sterrebeek church.[4] Sterrebeek, Sint-Pancratiuskerk church 11/91
Moses left by the river 1624 c. 145 x 196 cm Bought in Paris in 1742 by Augustus III of Saxony Dresden, Gemäldegalerie Alte Meister 15/10
Triumph of a poet or Triumph of Ovid 1624–1625 c. 148 x 176 cm Attribution contested by Anthony Blunt Rome, Palazzo Corsini 13/R92
Rinaldo and Armida 1624–1625 c. (or 1630 ?) 80 x 107 cm London, Dulwich Picture Gallery 20/202
Cephalus and Aurora 1624–1625 c. 79 x 152 cm Acquired by the Worsley collection before 1770 York, Hovingham Hall, Worsley Collection 25/145
The Mount of Olives 1624–1625 c. 62 x 49 cm Oil on copper, formerly in the dal Pozzo collection, rediscovered 1985 Private collection 27/
Venus and Adonis 1624–1625 c. 98.5 x 134.6 cm Attribution contested by Blunt Fort Worth, Kimbell Art Museum[5] 30/R107
Child with a cornucopia 1624–1625 c. 54,8 x 51,8 Recorded in the collection in 1713. Attribution contested by Blunt Rome, Palazzo Pallavicini-Rospigliosi 31/
Sleeping Venus with Cupid or Venus espied by shepherds 1624–1626 c. 71 x 96 cm Mentioned in the inventory of the Electors of Saxony in 1722. Attribution uncertain. Dresden, Gemäldegalerie Alte Meister[6] 28/189
Mercury, Herse and Aglaulus 1624–1626 c. 53,5 x 77,5 cm From the collection of Jacques-Édouard Gatteaux, damaged by fire during the Paris Commune (1871) Paris, École nationale supérieure des beaux-arts[7] 29/164
Rinaldo and Armida 1625 c. 95 x 133 cm Acquired by Catherine II of Russia and sent to Moscow in 1930 Moscow, Pushkin Museum 16/203
Gideon's Battle against the Midianites 1625–1626 c. 98 x 137 cm Commissioned by the Roman nobleman Marcello Sacchetti Rome, Pinacoteca Vaticana 21/31
Joshua's Victory over the Amorites 1625–1626 97,5 x 134 cm Pendant to Victory over the Amalekites. Sold by Poussin for 7 écus, bought by Catherine II of Russia Moscow, Pushkin Museum 18/30
Joshua's Victory over the Amalekites 1625–1626 97,5 x 134 cm Pendant to Victory over the Amorites. Sold by Poussin for 7 écus, bought by Catherine II of Russia Saint-Petersburg, Hermitage Museum 17/29
Bacchanale or Bacchus and Ariadne 1625–1626 122 x 169 cm Mentioned in the catalogue of the Royal Palace of La Granja de San Ildefonso in 1746. Attribution rejected by Blunt but supported by Thuillier and Rosenberg Madrid, Prado 24/R66
Cephalus and Aurora 1625–1626 c. 96,9 x 131,3 cm Bought by the National Gallery in 1831. Re-dated to 1626–1627 from a brand on the back. London, National Gallery 43/144
Venus and Adonis 1625–1626 (vers) 75 x 100 cm Collection of Sir Joshua Reynolds in 1766 Providence (Rhode Island), Rhode Island School of Design Museum of Art 42/185
Landscape with nymph and satyr or Amor Omnia Vincit 1625–1627 c. 97 x 127,5 cm Attribution supported by Rosenberg but rejected by Thuillier and Blunt; Blunt attributes it to Pier Francesco Mola Cleveland, Museum of Art R124/R58
Numa Pompilius and the nymph Egeria 1625–1628 c. 100 x 75 cm Acquired by the duc d'Aumale as part of Frédéric Reiset's collection Chantilly, musée Condé 60/168
The Massacre of the Innocents 1625–1629 c. 147 x 171 cm Painted for Vincenzo Giustiniani. Bought by the duc d'Aumale in 1854 Chantilly, musée Condé 19/67
Venus weeping for Adonis 1626 57 x 128 cm Mentioned in the inventory of cardinal Angelo Giori. In the French royal collection in 1683 and sent to Caen in 1804. Caen, musée des Beaux-Arts 26/186
The Destruction of the Temple in Jerusalem 1626 145,8 x 194 cm Painted for cardinal Barberini, who paid Poussin 61 écus for it on 3 February 1626. Passed into cardinal Richelieu's collection, lost at the end of the 18th century. Rediscovered in 1995 and given to the Israel Museum in 1999[8] Jerusalem, Israel Museum 35/
View of Grottaferrata, made up of Venus and Adonis and Landscape with a river god 1626 c. 77 x 202 cm (74,5 x 112 cm + 77 x 88 cm) Dal Pozzo collection. Cut into two parts in the 18th century and reunited in 2009[9] Montpellier, musée Fabre 22/R105
Apollo and Daphne 1626 c. 97 x 131 cm In the Elector of Bavaria's collection in 1782. Munich, Alte Pinakothek 23/130
Children's bacchanal 1626 56 x 76 cm Tempera. Collection of cardinal Chigi, remained at the Palazzo Chigi until 1914, entered the Italian national collection in 1979 Rome, Galleria Nazionale d'Arte Antica, palazzo Barberini 36/192
Children's bacchanal 1626 74 x 85 cm Tempera. Collection of cardinal Chigi, remained at the Palazzo Chigi until 1914, entered the Italian national collection in 1979. Not a pendant to the former. Rome, Galleria Nazionale d'Arte Antica, palazzo Barberini 37/193
Lamentation over the dead Christ 1626 102 x 148 cm In the collections of the Elector of Bavaria in the 18th century Munich, Alte Pinakothek 38/82
Venus surprised by satyrs 1626 77 x 100 cm Attribution rejected by Blunt then by Thuillier but recently reattributed to Poussin[10] Zurich, Kunsthaus B7/R113
Bacchic scene or Nymph riding a satyr 1626 c. 96 x 74,5 cm Mentioned in 1749 in the collection of William VIII, Landgrave of Hesse-Kassel Kassel (Hesse), Old masters gallery of the Lande of Hesse 44/198
Descent from the cross or The deposition from the cross 1626 c. 119 × 98 cm Collection of Heinrich von Brühl, whole collection acquired by Catherine II of Russia in 1768 Saint-Petersburg, Hermitage Museum 39/80
The Infancy of Bacchus 1626 c. 135 x 168 cm Bought by the duc d'Aumale in England in 1859 Chantilly, musée Condé 46/134
The Mount of Olives 1626 c. or 1632–1633 60,5 x 47 cm oil on copper, formerly in the Barberini collection. Sold at auction for $6.7 million to a private buyer in January 1999[11] Private collection 88
Helios and Phaeton with Saturn and the Four Seasons or Apollo loaning his chariot to Phaeton 1626–1627 c. 122 x 153 cm Located in Paris in 1674, then Potsdam in 1773 Berlin, Gemäldegalerie 51/172
The Nurture of Bacchus or A Little Bacchanal 1626–1627 c. 97 x 136 cm Acquired by the French royal collection before 1683. Attribution rejected by Anthony Blunt Paris, musée du Louvre 50/R64
The Nurture of Bacchus or The Infancy of Bacchus 1626–1627 c. 75 x 97 cm London, National Gallery 52/133
Venus and Mercury, made up of Venus and Mercury (image, left) and Concert of loves 1626–1627 c. 78 x 85 cm et 57 x 51 cm Original composition known through a drawing in the Louvre. Cut up during the 18th century.[12] London, Dulwich Picture Gallery and Paris, musée du Louvre 34/184
Virgin and Child 1626–1627 c. 58,5 x 49,5 cm Dal Pozzo collection. Pendant to the Piéta at Cherbourg, repainted Brighton, Preston Manor 40
Piéta 1626–1627 c. 57,5 x 48,5 cm Dal Pozzo collection. Pendant to the Brighton Virgin and Child Cherbourg, musée Thomas-Henry 41/81
Bacchus-Apollo or Bacchus and Erigone 1626–1627 c. (or c. 1628 ?) 98 x 73,5 cm Originally used for Bacchus-Erigone, then painted over by Poussin with a Bacchus-Apollo. Much later repainting, to cover the figures' genitalia. Stockholm, Nationalmuseum 53/135
Bacchic scene or Nymph and satyr drinking 1626–1628 74 x 60 cm Copy of the Moscow painting considered to be by Poussin himself Madrid, Prado 45a/200
Bacchic scene or Nymph and satyr drinking 1626–1628 77 x 62 cm Copy of the Prado painting considered to be by Poussin himself Moscow, Pushkin Museum 45b/200
Midas washing himself in the source of the river Pactolus 1626–1628 c. 97,5 x 72,5 cm Acquired by the museum in 1871 New York, Metropolitan Museum of Art 47/165
Midas at the source of the Pactolus 1626–1628 c. 50 x 66 cm Sold on 19 February 2011[13] Ajaccio, Musée Fesch 48/166
Olympos and Marsyas 1626–1628 c. 102,5 x 89,5 cm Rediscovered in 1969 by Pierre Rosenberg, bought by the musée du Louvre then returned to its owners in 1978 after a judicial hearing[14] Private collection 49
Narcissus and Cupid 1626–1629 c. 53 x 41,9 cm Rediscovered then sold at auction in 1997[15][16] Private collection
Sleeping nymph surprised by satyrs or Venus surprised by satyrs 1627 66 x 50,8 cm Attribution initially rejected by Blunt and Thuillier, recently backed by Rosenberg after an X-ray London, National Gallery B8/R113
The Poet's Inspiration or The Inspiration of Anacreon 1627 c. 94 x 69,5 cm In the collection of the Elector of Hanover in 1779 Hanover, Niedersächsisches Landesmuseum Hannover 72/125
Acis and Galatea 1627–1628 97 x 135 cm Given to the gallery in 1916 Dublin, National Gallery of Ireland 54/128
The shepherds of Arcadia (Et in Arcadia ego) 1627–1628 101 x 82 cm In the collection of Louis-Henri de Loménie de Brienne (son of Henri-Auguste de Loménie) at the end of the 17th century and entered the collection of William Cavendish, 4th Duke of Devonshire in 1761 Chatsworth House, Devonshire Collection 67/119
Bacchanal with guitar player or The Great Bacchanal 1627–1628 121 × 175 cm Acquired by cardinal de Richelieu then shifted to the French royal collection Paris, musée du Louvre 55/140
Echo and Narcissus 1628 74 x 100 cm Acquired by Louis XIV before 1683 Paris, musée du Louvre 57/151
The Death of Germanicus 1628 146 x 195 cm Painted for cardinal Francesco Barberini. Owned by his heirs until its sale to present owner in 1958 Minneapolis, Institute of Arts 58/156
The Triumph of Flora 1628 165 x 241 cm Owned by cardinal Omodei. Acquired in 1684–1685 by Louis XIV Paris, musée du Louvre 56/154
The Massacre of the Innocents 1628 97 x 132 cm Attribution supported by Blunt but rejected by Thuillier Paris, musée du Petit Palais B2/66
The Martyrdom of Saint Erasmus 1628–1629 99 x 74 cm Modello for the painting intended for St Peter's in Rome. Formerly in the Barberini collection, entered its present owner's collection in 1972 Ottawa, National Museum of Canada 68/98
The Martyrdom of Saint Erasmus 1628–1629 320 x 186 cm Commissioned in 1628 at the instigation of cardinal Francesco Barberini for a side chapel of Saint Peter's basilica Rome, Pinacoteca Vaticana 69/97
Midas before Bacchus 1628–1629 98 x 130 cm Located in Munich from 1787 Munich, Alte Pinakothek 65/R89
Diana and Endymion 1628–1630 (vers) 122 x 169 cm Possibly formerly in the collection Jules Mazarin then of Joseph Fesch. Several repaintings by Poussin Detroit, Institute of Arts 66/149
Mars and Venus 1628–1630 c. 155 x 213 cm Formerly in the Dal Pozzo collection Boston, Museum of Fine Arts 61/183
The Inspiration of the Poet 1629 183 x 213 cm In Thomas Charles Hope's collection in 1824, bought by the Louvre in 1911. Largely reworked, by Poussin himself. Paris, musée du Louvre 79/124
Saint James the Great's vision of the Virgin Mary 1629–1630 c. 301 × 242 cm Possibly painted as an altarpiece for the église Saint-Jacques in Valenciennes. Bought by the duc de Richelieu then entered the French royal collection in 1665 Paris, musée du Louvre 75/102
Holy Family with St John the Baptist 1629–1630 101 x 75,5 cm Formerly in the collection of Heinrich Thyssen Karlsruhe, Staatliche Kunsthalle 74/48
Moses sweetening the bitter waters of Marah 1629–1630 (vers) 152 x 210 cm Entered Simon Harcourt, 1st Earl Harcourt's collection in England in 1755. Sold at auction in 1948. Baltimore, Museum of Art 76/28
The Return from Egypt 1629–1630 c. 112 x 94 cm Possibly the first version of the painting now in Cleveland London, Dulwich Picture Gallery 77/68
The Holy Family or The Rest on the Flight into Egypt 1629–1630 c. 76 x 63 cm Formerly in the collection of Dr and Mrs Rudolph Heinemann, given to the museum in 1996[17] New York, Metropolitan Museum of Art 78/63
The Triumph of David or David the victor 1629–1630 c. 100 x 130 cm Collection of cardinal Girolamo Casanate from 1664 Madrid, Prado 73/34
The Rest on the Flight into Egypt 1630 c. 88 x 67 cm Possibly from Pierre Crozat's collection, moved to England in the 19th century Winterthour, Musée Oskar Reinhart « Am Römerholz » 80/64
The Assumption of the Virgin 1630–1632 c. 134,4 × 98,1 cm Attribution supported by Blunt but rejected by Thuillier and Rosenberg (1994) Washington, National Gallery of Art B20/92
Children and dogs 1630–1633 c. 67,5 x 50 cm Fragment d'une plus grande toile dont le sujet reste inconnu. In Pierre Crozat's collection, collection acquired by Catherine II of Russia Saint-Petersburg, Hermitage Museum 32/195
The Plague of Ashdod or The Philistines struck by plague 1631 148 x 198 cm Finished at the end of 1630 and sold for 110 écus. Formerly in the collection of cardinal Richelieu Paris, musée du Louvre 81/32
Nymph riding a goat or Venus, faun and putti 1631 c. 72 x 56 cm Saint-Petersburg, Hermitage Museum 82/199
Children and putti playing 1631 c. 95 x 72 cm Possibly from the collection of Pierre Crozat, which was sold to Catherine II of Russia Saint-Petersburg, Hermitage Museum 83/196
The Empire of Flora or The Garden of Flora or The flower garden 1631 131 x 181 cm Sold for 100 écus. Collections of the elector of Saxony from 1722 Dresden, Gemäldegalerie Alte Meister 84/155
Tancred and Erminia 1631 98 x 147 cm Acquired in Paris in 1765 by Catherine II of Russia Saint-Petersburg, Hermitage Museum 86/206
Parnassus or Apollo and the muses 1631–1632 145 x 197 cm In the Spanish royal collection from 1746 Madrid, Prado 85/129
The Triumph of David 1631–1633 c. 117 x 146 cm Provenance prior to acquisition by Dulwich unknown. Attribution doubted by Mahon, Blunt and Thuillier London, Dulwich Picture Gallery 91/33
Bacchanal before a herm 1632–1633 98 x 142,8 cm Acquired in 1826 London, National Gallery 87/141
The Return from Egypt 1632–1633 134 x 99 cm From the collection of the prince of Liechtenstein, sold in 1952 Cleveland, Museum of Art 89/
The miraculous translation of saint Rita of Cascia or The Virgin protecting Spoleto 1633 c. 48 x 37 cm Oil on wood London, Dulwich Picture Gallery 97/94
Adoration of the Magi 1633 160 x 182 cm Acquired in 1742 in Paris by Augustus of Saxony. Signed Accad. rom. Nicolaus Pusin faciebat Romae 1633 Dresden, Gemäldegalerie Alte Meister 93/44
Adoration of the Shepherds 1633–1634 98 x 74 cm Possibly from the collection of Joshua Reynolds, passed to the Beauchamp family, entered the National Gallery in 1957. Signed N. Poussin fe. sur la pierre au premier plan. London, National Gallery 92/40
A Dance to the Music of Time 1633–1634 c. 83 x 105 cm Painted for cardinal Ropigliosi, later pope Clement IX, on a theme outlined by the commissioner. Passed to the collections of the duke of Hertford and Richard Wallace London, Wallace Collection 141/121
The Rape of the Sabine Women 1633–1634 or 1637–1638 159 x 206 cm According to Blunt, this version is older than that owned by the Metropolitan; according to Thuillier, it is the younger of the two Paris, musée du Louvre 131/179
Saint John baptising in the Jordan or Saint John baptising the people 1633–1634 c. 95 x 120 cm Dal Pozzo collection, passed into the collection of the dukes of Rutland in 1785. Belonged to the Fondation et Collection Emil G. Bührle for a time, then acquired by the Getty in 1971 Los Angeles, Getty Center 94/70
Rinaldo's Companions 1633–1634 c. 119 x 101 cm Dal Pozzo collection. Acquired by the museum in 1977. New York, Metropolitan Museum of Art 106/205
Moses making water pour from the rock or The striking of the rock 1633–1635 97 × 133 cm Collection of Jean-Baptiste Colbert de Seignelay then in the galerie d'Orléans of the Palais-Royal, and finally bought by Francis Egerton, 3rd Duke of Bridgewater. Still owned by Egerton's successors and inheritors. Edinburgh, National Gallery of Scotland (loan) 101/22
Landscape with a man frightened by a snake 1633–1635 c. 65 x 76 cm Acquired around 1920 in Paris by Duncan Grant. Owned by Anthony Blunt avant sa vente au musée. Montréal, Museum of Fine Arts 96/215
Children playing 1633–1635 c. 52 x 39 cm Formerly in the collection of the duke of Westminster Lisbon, Museu Calouste Gulbenkian 104/R109
Venus presenting arms to Aeneas 1633–1635 c. 107 x 133 cm Formerly in the collection of the prince of Cellamare Toronto, musée des beaux-arts de l'Ontario 107/190
Tancred and Erminia 1634 c. (or 1638–1639) 75 x 100 cm Bought in Paris in 1717 by James Thornhill. Acquired by the Institute in 1938 Birmingham, Barber Institute of Fine Arts 143/207
The Rape of the Sabine Women 1634 154,5 x 210 cm Formerly in the collection of Marie-Madeleine de Vignerot d'Aiguillon. New York, Metropolitan Museum of Art 103/180
The Crossing of the Red Sea 1634 155,6 x 215,3 cm Pendant to The Adoration of the Golden Calf. dal Pozzo collection. Property of the Earls of Radnor from the 18th century to 1945 Melbourne, National Gallery of Victoria 99/20
The Adoration of the Golden Calf 1634 154 x 214 cm Pendant to The Crossing of the Red Sea. dal Pozzo collection. Property of the Earls of Radnor from the 18th century to 1945 London, National Gallery 100/26
The young Pyrrhus saved 1634 116 x 160 cm Paid 70 écus for it on 2 September 1634 by a close contact of the pope. Passed into Richelieu's collection then the French royal collection in 1665 Paris, musée du Louvre 108/178
Landscape with ruins or Landscape with an ancient tomb and two figures 1634 c. 72 x 98 cm Attribution denied by Thuillier. Blunt attributes it to Jean Lemaire, Rosenberg attributes it to Poussin Madrid, Prado R142
Saint John baptising the people 1634–1635 94 x 120 cm Collection of André Le Nôtre, given to the king of France in 1693 Paris, musée du Louvre 102/69
Camillus and the schoolmaster of Falerii 1634–1635 c. 101 x 137 cm Owned by the princes de Schaumbourg-Lippe in the 18th century. Formerly in the collection of Prince Paul of Yugoslavia. Acquired by the museum in 1970 Pasadena (California), Norton Simon Museum 109/143
Hymen disguised as a woman at a sacrifice to Priapus or Dance in honour of Priapus 1634–1638 c. 167 x 376 cm Commissioned by the king of Spain, possibly the pendant to The Hunt of Meleager and Atalanta São Paulo, Museum of Art 116/176
The Hunt of Meleager and Atalanta or Leaving for a hunt 1634–1638 160 x 360 cm Commissioned by the king of Spain, possibly the pendant to Dance in honour of Priapus. Madrid, Prado 115/163
Saint Cecilia 1635 c. 117,7 cm x 89 cm Located at the Royal Alcázar of Madrid in 1734. Attribution rejected by Thuillier Madrid, musée du Prado B19/96
The Destruction of the Temple in Jerusalem or The Capture of Jerusalem 1638 147 x 198 cm Inscribed "Ni Pussin Fec" on the second shield from the right. Commissioned by Barberini to be given to the ambassador of the Holy Roman Empire in 1639 Vienna, Kunsthistorisches Museum 132/37
The Triumph of Neptune or The Birth of Venus (Richelieu Bacchanals I) 1635 or 1636 97,2 × 108 cm From a series commissioned by cardinal Richelieu for his château of the same name. Philadelphia, Museum of Art 110/167
The Triumph of Silenus (Richelieu Bacchanals II) 1637 143,5 x 121,3 cm From a series commissioned by cardinal Richelieu for his château of the same name. Considered to be an early copy (1637) of a lost original by Blunt, Thuillier. Considered to be an original Poussin by Rosenberg.[18] and the National Gallery.[19] London, National Gallery 111/138
The Triumph of Pan (Richelieu Bacchanals III) 1635–1636 134 x 145 cm From a series commissioned by cardinal Richelieu for his château of the same name. London, National Gallery 112/136
The Triumph of Bacchus (Richelieu Bacchanals IV) 1635–1636 128,3 x 151,1 cm Considered to be an early copy by Blunt and Thuillier. Considered to be a Poussin original by Rosenberg. From a series commissioned by cardinal Richelieu for his château of the same name. Kansas City, Nelson-Atkins Museum of Art 113/137
The Seven Sacraments I : Confession (1) 1636–1640 c. 95,5 x 121 cm Destroyed in a fire at Belvoir Castle in 1816 Destroyed /108
The Seven Sacraments I : Marriage (2) 1636–1640 c. 95,5 x 121 cm Second in the series, preceded by Confession Belvoir Castle, Leicestershire, Collection of the duke of Rutland 125/111
The Seven Sacraments I : Extreme unction (3) 1636-1640 c. 95,5 x 121 cm dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Acquired by The Fitzwilliam Museum in 2012. Cambridge, The Fitzwilliam Museum 126/109
The Seven Sacraments I : Confirmation (4) 1636-1640 (vers) 95,5 x 121 cm dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785 Belvoir Castle, Leicestershire, Collection of the duke of Rutland 127/106
The Seven Sacraments I : The Commissioning (5) (or Ordination) 1636–1640 c. 95,5 x 121 cm dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Attempted sale in 2010 (estimate of £15 million[20]) Acquired by Kimbell Art Museum in 2011. Fort Worth, Kimbell Art Museum 128/110
The Seven Sacraments I : The Eucharist (6) 1636-1640 c. 95,5 x 121 cm dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Belvoir Castle, Leicestershire, Collection of the duke of Rutland 129/107
The Seven Sacraments I : Baptism or The Baptism of Christ (7) 1636–1642 95,5 × 121 cm Completed in 1642 in Paris. dal Pozzo collection. Acquired by the dukes of Rutland in 1784–1785. Separated from the rest of the series following a sale in 1939 Washington, National Gallery of Art 130/105
The Feeding of Jupiter or The Infancy of Jupiter 1636–1637 c. 96,2 x 119,6 cm Appeared in the middle of the 18th century London, Dulwich Picture Gallery 139/161
Landscape with Juno and Argus 1636–1637 c. 120 x 195 cm Cited in 1638 in the Giustiniani family collection in Rome Berlin, Gemäldegalerie 95/160
Camillus hands over the schoolmaster of Falerii to his pupils 1637 252 x 265 cm Painted for Louis Ier Phélypeaux de La Vrillière Paris, musée du Louvre 122/142
Pan and Syrinx or Syrinx pursued by Pan and turned into a reed 1637 106,5 x 82 cm Acquired by Augustus III of Saxony in Paris in 1742 Dresden, Gemäldegalerie Alte Meister 120/171
Landscape with Saint Jerome 1637–1638 155 x 234 cm Belonging to a series of paintings of hermits commissioned from artists resident in Rome by Philip IV of Spain to decorate his Retiro palace Madrid, Prado 114/103
Landscape with a man drinking 1637–1638 c. 63 x 78 cm Possibly from the Dal Pozzo collection, reappeared in 1939. Pendant to Landscape with resting travellers London, National Gallery 133/213
Landscape with resting travellers 1637–1638 c. 63 x 75 cm Possibly Dal Pozzo collection, reappeared in 1939. Pendant to Landscape with a man drinking London, National Gallery 134/214
The Israelites gathering manna in the desert 1637–1639 149 x 200 cm Painted for Paul Fréart de Chantelou Paris, musée du Louvre 135/21
Finding of Moses 1638 93 x 121 cm Previously belonged to André Le Nôtre and given to the king of France in 1693 Paris, musée du Louvre 136/12
Theseus rediscovering his father's sword 1638 c. 98 x 134 cm Architectural decoration painted by Jean Lemaire. Chantilly, musée Condé 90/182
The Shepherds of Arcadia (Et in Arcadia ego) 1638–1639 85 x 121 cm Acquired by Louis XIV in 1685 Paris, musée du Louvre 137/120
Saint Margaret 1638–1640 c. 220 x 145 cm Possibly commissioned by Dal Pozzo for a church in the Piedmont Turin, Sabauda Gallery 142/104
Venus presenting arms to Aeneas 1639 105 x 142 cm Painted for Jacques Stella Rouen, musée des beaux-arts 138/191
Jupiter suckled by the goat Amalthea or The Feeding of Jupiter 1640 97 × 133 cm Collection of Frederick II of Prussia in 1786 Berlin, Gemäldegalerie 145/162
The Continence of Scipio 1640 114 x 163 cm Collection of Robert Walpole, collection acquired by Catherine II of Russia in 1772 Moscow, Pushkin Museum 146/181
Landscape with saint Matthew 1640 99 x 135 cm Sold for 70 écus on 28 October 1640. Left to cardinal Barberini, acquired by the Gemäldegalerie in 1873. Pendant to Landscape with saint John on Patmos Berlin, Gemäldegalerie 147/87
Landscape with saint John on Patmos 1640 102 x 133 cm Sold for 70 écus on 28 October 1640. Reappeared in 1930. Pendant to Landscape with saint Matthew. Chicago, Art Institute 148/86
The Institution of the Eucharist or Jesus Christ instituting the Eucharist 1641 325 x 250 cm Commissioned in December 1640 for Louis XIII of France for the chapel of the château de Saint-Germain-en-Laye Paris, musée du Louvre 149/78
Time and Truth or dit aussi Time defending Truth against the attacks of Envy and Discord 1641 297 cm in diameter Commissioned by cardinal Richelieu for the ceiling of the 'grand cabinet' of his Parisian palace Paris, musée du Louvre 152/122
The Miracle of saint Francis Xavier or Saint Francis Xavier bringing back to life the daughter of an inhabitant of Cangoxima in Japan 1641–1642 444 x 234 cm Commissioned by François Sublet des Noyers for the high altar of the Jesuit noviciate Paris, musée du Louvre 151/101
Holy Family 1641–1642 71 x 55,5 cm Painted for the Order of Malta's ambassador to Rome. Acquired by the Institute in 1954. Detroit, Institute of Arts 153/46
Saint Paul's ascension to heaven 1643 41,5 x 30 cm Painted for Paul Fréart de Chantelou Sarasota, Florida, John and Mable Ringling Museum of Art 154/
The Seven Sacraments II : Extreme Unction (1) 1644 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland(long term loan) 159/116
The Seven Sacraments II : Confirmation (2) 1645 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland 160/113
The Seven Sacraments II : Baptism (3) 1646 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland 161/112
The Seven Sacraments II : Confession (4) 1647 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland 162/115
The Seven Sacraments II : Ordination or Commissioning (5) 1647 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland 163/117
The Seven Sacraments II : Eucharist (6) 1647 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland 164/114
The Seven Sacraments II : Marriage (7) 1647–1648 117 x 178 cm Series painted for Paul Fréart de Chantelou. Passed into the d’Orléans collection, which was broken up in England in 1798. Edinburgh, National Gallery of Scotland, collection of the Duke of Sutherland 165/118
The infant Moses trampling pharaoh's crown 1645 101 x 144 cm D'Orléans collection, sold in England in 1798 Woburn Abbey (Bedfordshire), collection of the duke of Bedford 156/16
Crucifixion or Calvary 1645–1646 148 x 218 cm Commissioned before May 1644 by magistrate Jacques-Auguste II de Thou then owned by the family of Jacques Stella. Acquired by the Atheneum in 1935. Hartford (Connecticut), Wadsworth Atheneum 157/79
Moses changing Aaron's rod into a snake 1645–1648 c. 92 x 128 cm Pendant to The infant Moses trampling pharaoh's crown. Painted for Camillo Massimi Paris, musée du Louvre 167/19
The infant Moses trampling pharaoh's crown 1645–1648 c. 92 x 128 cm Pendant to Moses changing Aaron's rod into a snake. Painted for Camillo Massimi Paris, musée du Louvre 166/15
Moses saved from the river 1647 120 x 195 cm Acquired by Armand Jean de Vignerot du Plessis and entered the French royal collections in 1665 Paris, musée du Louvre 169/13
Saint John baptising Christ 1648 30 x 23 Painted for Paul Fréart de Chantelou following a commission granted in 1645. Painted on cupressus panel New York, collection Wildenstein 170/71
Holy Family or Madonna on the stairs 1648 118 x 197 cm The original according to the archives, with the version held by the National Gallery of Art in Washington only being a copy. Fraudulently exported from France and acquired by the Cleveland Museum, then jointly acquired by them and the Louvre Cleveland, Museum of Art, Paris, musée du Louvre 172/53
Eleazer and Rebecca 1648 118 x 197 cm Passed into the hands of Armand Jean de Vignerot du Plessis then entered the French royal collection in 1665 Paris, musée du Louvre 173/8
Landscape with the funeral of Phocion 1648 117,5 x 178 cm Possibly painted for the Lyon businessman Jacques Sérisier. Pendant to Landscape with the ashes of Phocion Cardiff, National Museum of Wales 176/173
Landscape with the Ashes of Phocion 1648 116 x 178,5 cm Possibly painted for the Lyon businessman Jacques Sérisier. Pendant to Landscape with the funeral of Phocion Liverpool, Walker Art Gallery 177/174
Landscape with a Man Killed by a Snake or The effects of terror 1648 119 x 198,5 cm Copie ancienne au musée Magnin London, National Gallery 178/209
Landscape with Orpheus and Eurydice or Orpheus and Eurydice 1648 120 x 200 cm Acquired for the French royal collection in 1685. Upper and lower portions cut off. Paris, musée du Louvre 179/170
Landscape with Diogenes or Diogenes throwing away his bowl 1648 160 x 221 cm Collection of the duc de Richelieu, acquired by Louis XIV in 1665 Paris, musée du Louvre 180/150
Landscape with Polyphemus 1649 150 x 198 cm Acquired by Catherine II of Russia in 1772 on the advice of Denis Diderot Saint-Pétersbourg, musée de l'Ermitage 182/175
The Judgement of Solomon 1649 101 x 150 cm Entered the French royal collection in 1685 Paris, musée du Louvre 183/35
The striking of the rock or Moses Striking Water from the Rock 1649 150 × 196 cm Painted for Jacques Stella. Collection of Robert Walpole in 1733, acquired by Catherine II of Russia in 1779 Saint-Petersburg, Hermitage Museum 185/23
Self portrait 1649 78 x 65 cm Inscribed "Nicolaus Poussinus Andelyensis Academicus Romanus Primus Pictor Ordinarius Ludovici Iusti Regis Galliae. Anno Domini 1649. Romae. Aetatis suae 55" Painted for his friend Jean Pointel. Acquired by the Gemäldegalerie in 1821. Berlin, Gemäldegalerie 186/1
Self portrait 1649–1650 98 x 74 cm Inscribed "Effigies Nicolai Poussini Andelyensis Pictoris Anno Aetatis 56 Romae Anno Iubilei 1650" Painted for his friend Paul Fréart de Chantelou. Acquired by the French national collection in 1797. Paris, musée du Louvre 190/2
Assumption of the Virgin 1649–1650 57 x 40 cm Joined the French royal collection in 1685 Paris, musée du Louvre 188/93
Saint Paul's ascension into heaven 1649–1650 148 x 120 cm Painted for Paul Scarron, passed to the collection of Armand Jean de Vignerot du Plessis then the French royal collection in 1665 Paris, musée du Louvre 189/89
Landscape with three monks or A Solitude or Landscape with saint Francis 1648–1650 117 x 193 cm Collection of Paul of Yugoslavia. Early copy at the musée Ingres de Montauban Belgrade, Beli Dvor (white palace) 191/100
Landscape with a woman washing her feet 1650 114 x 175 cm Painted for Michel Passart. Acquired by the Gallery in 1944. Early copy at the musée Condé de Chantilly Ottawa, National Gallery of Canada 192/212
The Blind Men at Jericho or Christ healing the blind 1650 119 x 176 cm Painted for the Lyon silk merchant Reynon, acquired by Armand Jean de Vignerot du Plessis then by the French royal collection in 1665 Paris, musée du Louvre 193/74
Holy Family 1650–c. 1651 97,8 × 129,5 cm Acquired in 1942. Cambridge (Massachusetts), Fogg Art Museum 195/54
The Holy Family with Saint John and Saint Elisabeth in a landscape c. 1650 94 x 122 cm Painted for the wife of Nicolas Fouquet and joined the French royal collection in 1685 Paris, musée du Louvre 196/55
Moses saved from the river 1651 116 x 177,5 cm Painted for Reynon. Acquired jointly with the National Gallery, London Cardiff, National Museum of Wales / London, The National Gallery 197/14
Holy Family 1651 96,5 x 133 cm Painted for Charles III de Créquy. On show at Chatsworth House until 1981 Pasadena (California), Norton Simon Museum 198/58
Stormy Landscape with Pyramus and Thisbe 1651 192 x 273 cm Painted for Cassiano dal Pozzo. Acquired by the Museum in 1931. Frankfurt, Städel Museum 202/177
Landscape in calm weather or Calm time 1651 99 x 132 cm Pendant to The Storm at Rouen. Rediscovered in 1977. Held until 1997 at Sudeley Castle in Winchcombe (Gloucestershire) Los Angeles, Getty Center 201/
The Storm c. 01651 99 x 132 cm Pendant to the Getty's Landscape in calm weather du Getty. Reappeared on the art market in 1950. Rouen, musée des beaux-arts 200/
Ideal landscape or Landscape with buildings or Landscape with three men 1651–1653 120 × 187 cm Mentioned in 1746 to be at the Royal Palace of La Granja de San Ildefonso Madrid, Prado 199/
Achilles on Skyros or Achilles among the daughters of Lycomedes 1651–c. 1653 97,5 x 131,1 cm Boston, Museum of Fine Arts 204/
Coriolanus 1652–c. 1653 112 x 198,5 cm Seized from the émigré (Simon-Charles Boutin) on the French Revolution and sent to Les Andelys in 1802 Les Andelys, Musée Nicolas Poussin 203/147
The Will of Eudamidas c. 1653 110,5 x 138,5 cm Painted for Michel Passart Copenhague, Statens Museum for Kunst 206/152
Christ and the woman taken in adultery c. 1653 121 x 195 cm Painted for André Le Nôtre and given to Louis XIV in 1693 Paris, musée du Louvre 207/
Noli Me Tangere 1653 47 x 39 cm Inventory of the la Granja palace in 1746. Its lost pendant was a Lamentation over the dead Christ Madrid, Prado 208/
Nativity c. 1653 46 x 39,5 cm Oil on wood. Pendant to the Munich Annunciation. Attribution to Poussin opposed by Blunt Oberschleissheim, now the schloss Schleissheim (Bayerische Staatsgemäldesammlungen)[21] 209/R19
Annunciation c. 1653 45 x 38 cm Oil on wood. Pendant to the Munich Nativity. Attribution to Poussin opposed by Blunt Oberschleissheim, now schloss Schleissheim (Bavaria State paintings collection)[22] 225/39
Moses exposed by the river 1654 150 x 204 cm Painted for Jacques Stella. Collection of the ducs d'Orléans before 1727 Oxford, Ashmolean Museum 211/
The Death of Saphire (or Saphira) 1654–1656 122 × 199 cm Acquired in 1685 by Louis XIV Paris, musée du Louvre 210/85
Esther before Ahasuerus 1655 119 x 155 cm Painted for Sérisier, then in the Seigneley collection, then in the collection of the ducs d'Orléans, finally acquired by Catherine II of Russia. Saint-Petersburg, Hermitage Museum 212/36
Holy Family 1655 172 x 133,5 cm Walpole's collection before 1739. Acquired in 1779 by Catherine II of Russia Saint-Petersburg, Hermitage Museum 213/
Sainte Famille 1655 198 x 128 cm Possibly commissioned by the duc de Créqui. Formerly in the collection of the earls of Yarborough Sarasota (Florida), John and Mable Ringling Museum of Art 214/51
Saints Peter and John healing the lame man 1655 126 x 165 cm Painted for a treasurer in Lyon, Mercier. Collection of the prince of Liechtenstein from 1924. New York, Metropolitan Museum of Art 216/84
Holy Family with saints John, Elisabeth and Joseph praying 1655 68 x 51 cm Acquired in 1685 by Louis XIV Paris, musée du Louvre 217/57
Adoration of the Shepherds 1655 c. 96 x 134 cm Collection of the Electors Palatine at Mannheim, inherited by the electors of Bavaria in 1777 Oberschleissheim, now the Schloss Schleissheim (Bavaria State paintings collection)[23] 221/41
Saint John baptising Christ 1655–1657 92 x 129 cm Reappeared in 1911 Philadelphia, Museum of Art[24] 220/
The Rest on the Flight into Egypt 1655–1657 105 × 145 cm Painted for madame de Montmort, wife of Fréart de Chantelou Saint Petersburg, Hermitage 219/
Achilles on Skyros 1656 100,33 x 133,35 cm Painted for the duc de Créqui. Attribution supported by Blunt but rejected by Thuillier Richmond (Virginia), Virginia Museum of Fine Arts 218/127
The Birth of Bacchus 1657 123 x 179 cm Painted for Jacques Stella, passed to the d'Orléans collection. Given to the Museum by Samuel Sachs in 1942 Cambridge (Massachusetts), Fogg Art Museum 226/
Annunciation 1657 105,8 x 103,9 cm Possibly painted for Dal Pozzo's funerary chapel in the basilica of Santa Maria sopra Minerva in Rome. Inscribed "Poussin faciebat. anno. salutis. MDCLVII. Alex. sept. Pont. Max. Regnante Roma" London, National Gallery 228/
The vision of saint Frances of Rome or Saint Frances of Rome announcing the end of the plague to Rome 1657 c. 125 x 102 cm Painted for Giulio Rospigliosi. Reappeared on the art market after a disappearance of almost . Acquired by the Louvre in 1999[25] Paris, musée du Louvre 223/
The Flight into Egypt or resting on the journey 1657–1658 146 x 216 cm Reappeared in 1986, classified a 'trésor national'. Acquired in 2007, property of the musée du Louvre deposited at Lyon Lyon, musée des beaux-arts 230/61
Lamentation over the dead Christ 1657–1658 c. 94 x 130 cm Acquired in 1882 by the duke of Hamilton Dublin, National Gallery of Ireland 229/83
Queen Zenobia found on the banks of the river Arax 1657–1660 156 x 194,5 cm Rospigliosi collection in 1713. Saint-Petersburg, Hermitage Museum 233/
Blind Orion Searching for the Rising Sun 1658 119 x 182,9 cm Painted for Michel Passart. Collection of Paul Sanford Methuen. Acquired by the Museum in 1924 New York, Metropolitan Museum of Art 227/169
Landscape with Two Nymphs 1659 c. 118 x 179 cm Possibly painted for Charles Le Brun. Acquired with the Reiser collection by the duc d'Aumale Chantilly, musée Condé 231/208
Landscape with Hercules and Cacus 1659–1661 c. 156,5 x 202 cm Acquired by Catherine II of Russia in 1772 from Hubert de Brienne de Conflans Moscow, Pushkin Museum 240/158
The Four Seasons : Spring or Adam and Eve or The earthly paradise 1660–1664 116 x 160 cm Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 Paris, musée du Louvre 234/3
The Four Seasons : Summer or Ruth and Boaz 1660–1664 116 x 160 cm Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 Paris, musée du Louvre 235/4
The Four Seasons : Autumn or The grapes of the promised land or The Grapes of Canaan 1660–1664 116 x 160 cm Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 Paris, musée du Louvre 236/5
The Four Seasons : Winter or The Flood 1660–1664 116 x 160 cm Series painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 Paris, musée du Louvre 237/6
Eleazar and Rebecca 1660–1665 c. 96,5 x 138 cm Discovered by Anthony Blunt in 1933 and bought by the Museum on his death Cambridge, Fitzwilliam Museum 239/9
Landscape with Hagar and the Angel 1660–1665 c. 100 x 75 cm Discovered in 1960 by André Chastel Rome, Galleria Nazionale d'Arte Antica, palazzo Barberini 241/
Apollo and Daphne or Apollo in love with Daphne 1664 155 x 200 cm Incomplete on Poussin's death, given to Camillo Massimi. Acquired by the Louvre in 1869 Paris, musée du Louvre 242/131

References

[edit]
  1. ^ "Catalogue page". Découverte des collections des musées de Haute-Normandie. Archived from the original on 11 July 2012. Retrieved 4 June 2011.
  2. ^ (in Italian) Denis Mahon, Nicolas Poussin. I primi anni romani, Milan, 1998
  3. ^ (in French) La Mort de Chioné, un deuxième Poussin acquis par le musée des beaux-arts de Lyon
  4. ^ (in French) La Mort de la Vierge de Poussin restaurée
  5. ^ "Notice". Kimbell Art Museum. Archived from the original on 14 March 2012. Retrieved 4 June 2011.
  6. ^ "Catalogue entry". Bidarchiv SKD. Retrieved 4 June 2011.[permanent dead link]
  7. ^ "Notice Cat'zart". ensba.fr. Retrieved 4 June 2011.
  8. ^ Overview – The Israel Museum
  9. ^ (in French) Chroniques d’acquisitions annoncées : Poussin pour Montpellier et Ingres pour le Louvre
  10. ^ (in French) Olivier Bonfait, 'Poussin aujourd'hui', La Revue de l'Art, vol. 119, no 1, 1998, p. 73 note 24
  11. ^ Old master madness
  12. ^ Dulwich picture gallery
  13. ^ (in French) Incroyable vol au Musée Fesch d’Ajaccio
  14. ^ (in French) Tribulations d'un Poussin
  15. ^ 5093/Lot53 Christie's – Sale 5093, Lot 53
  16. ^ Olivier Bonfait, « Poussin aujourd'hui », art. cit., p. 72 note
  17. ^ The Rest on the Flight into Egypt
  18. ^ Olivier Bonfait, 'Poussin aujourd'hui, art. cit', La Revue de l'Art, vol 119, (1998), page 73, note 31
  19. ^ "Poussin painting 'copy' to hang in main galleries with new label". The Guardian. 29 April 2021. Retrieved 29 April 2021.
  20. ^ "Poussin painting valued at £15m fails to sell". BBC News. 8 December 2010.
  21. ^ French paintings in Germany Archived 7 October 2011 at the Wayback Machine
  22. ^ French paintings in Germany Archived 7 October 2011 at the Wayback Machine
  23. ^ French paintings in Germany Archived 7 October 2011 at the Wayback Machine
  24. ^ Valiela, Julia L. "The Baptism of Christ by Nicolas Poussin (cat. 773)". The John G. Johnson Collection: A History and Selected Works. A Philadelphia Museum of Art free digital publication.
  25. ^ Musée du Louvre[permanent dead link]

Bibliography

[edit]
  • Blunt, Anthony (1966). The Paintings of Nicolas Poussin. A Critical Catalogue. London: Phaidon. OCLC 1153562776 – via the Internet Archive.
  • (in French) Jacques Thuillier, Tout l'œuvre peint de Poussin : Documentation et catalogue raisonné, Paris, Rizzoli-Flammarion, Les Classique de l'Art series, 1974, 136 p.
  • (in French) Jacques Thuillier, Nicolas Poussin, Paris, Flammarion, 1994, 287 p. (ISBN 2-08-012513-3) – contains a summary of the 1974 work's catalogue
  • (in French) Pierre Rosenberg, Nicolas Poussin (1594–1665), exhibition catalogue, Grand Palais, Paris, RMN, 1996
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