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Rome: Nature and the Ideal. Landscapes 1600-1650

7/5/2011 - 9/25/2011

Featuring more than 100 works, the exhibition Rome: Nature and the Ideal. Landscapes 1600-1650 is exhibited at the Museo del Prado after its showing at the Grand Palais in Paris. The exhibition project is one of the most ambitious to be undertaken by the Prado, which has worked closely with the Musée du Louvre. Works have been loaned from fifty different sources in order to offer the most important selection of landscape of this period to be exhibited to date. This important group of works analyzes the evolution of the genre from its first flowering to its maturity through figures of the stature of Velázquez, Claude Lorraine and Poussin.Until the late 16th century, landscape was considered a minor artistic genre by art theoreticians and on certain occasions was treated as a speciality confined to the painters who had moved from northern Europe to Italy. Various different traditions co-existed in Rome, together constituting the most important trends within this genre in the 16th century, namely the archaeological landscapes of Polidoro da Caravaggio and Raphael and the more naturalistic, poetic canvases of Giorgione and Titian, whose works some of the great Roman collectors were proud to display.It was Annibale Carracci who developed the prototype of the harmoniously structured landscape of a kind that came to be described as classical by the end of the 17th century. Carracci's example was developed by his Bolognese followers including Domenichino and Francesco Albani, who further enhanced the genre with literary references. In addition, Paul Bril formulated new typologies such as the marine landscape, genre scenes of fishermen and topographically accurate landscapes. As a result, Bril and other artists from Antwerp such as Jan Brueghel and Sebastian Vrancx updated the 16th-century Antwerp tradition of landscape through contact with the natural environment of Italy. Another important factor in the development of the genre was the presence of the German painter Adam Elsheimer in Rome from 1610 to 1620. Elsheimer introduced small figures and other elements such as literary references into his landscapes, which have a dramatic tension normally associated with history painting. His enthusiasm for atmospheric effects and different types of light constituted an important precedent for the naturalist landscape painting of Bartholomeus Breenbergh, Cornelis van Poelenburgh and Filippo Napoletano, who in turn inspired artists such as Carlo Saraceni and Orazio Gentileschi, all present in the exhibition with key works from their respective oeuvres.The two sections of the exhibition devoted to Claude Lorraine and Nicolas Poussin are specially important. Both painters were the leading representatives of the genre and their works marked the transition of the landscape painting from a minor genre to a renowned painting endowed with features that defined its uniqueness. Alongside their works are paintings by other French artists such as Jean Lemaire, who rapidly became sought after on the art market for his views with classical ruins, and Gaspard Dughet, whose proto-romantic visions would be extremely influential for later landscape painters such as Courbet.The two venues Rome. Nature and the Ideal is held (Galeries nationales du Grand Palais and the Museo del Prado) present an almost identical version of the exhibition with regard to its content, except for the drawings, which vary significantly for conservation reasons. The main difference in the Madrid version of the exhibition is the inclusion of a section that focuses on Philip IV's commission of a large series of landscapes for the decoration of the Buen Retiro Palace in Madrid. The project involved the participation of the leading artists resident in Rome between 1635 and 1640, whose influence would be crucial for the future development of the genre.

Curator:
Andrés Úbeda de los Cobos, Chief Curator of Italian and French Painting, Museo Nacional del Prado

Access

Room A and B. Jerónimos Building

Opening time

Tuesday to Sunday from 9am to 8pm (last access at 7. 30pm)

Organized by:
Rmn-Grand Palais
Musée du Louvre
In collaboration with:
Comunidad de Madrid

Exhibition

Annibale Carraci, Paul Bril, Adam Elsheimer

Annibale Carraci, Paul Bril, Adam Elsheimer
Landscape with Two Temples
Pietro da Cortona
Oil on canvas, 84 x 110 cm
ca. 1626
Vatican City, Musei Vaticani

Around 1600, Annibale Carracci devised a new type of painting involving a harmoniously structured presentation of nature. The origin of the ideal landscape, this depiction of the natural world functioned as the setting for human activities that imbued the landscape with order and nobility. Following Carracci, it was the young Bolognese painters, Francesco Albani and above all Domenichino who would play a key role in the rise of the idealised landscape. During this period, Paul Bril adapted landscape to the Flemish style. From the 1580s onwards he executed fresco series on biblical themes and also depicted similar subjects in small-format paintings, often on copper panels. These vivid evocations of nature were painted with bright colours and animated by picturesque details. Another pioneer in the genre was Jan Brueghel, who located Roman monuments in imaginary natural settings and also devised new motifs, particularly in his paintings of hermits, depicted with enormous virtuosity.

The German painter, Adam Elsheimer fascinated his contemporaries with his effects of light and his ability to reproduce the tiniest details of the natural world. Elsheimer's small paintings presented the grandiose subjects of history painting in landscape settings while maintaining an emphasis on the fleeting effects of light and atmosphere.

The Evolution of Bolognese Landscape

The Evolution of Bolognese Landscape
Landscape with Women bathing
Guercino (Giovanni Francesco Barbieri)
Oil on canvas, 36 x 53 cm
ca. 1618
Rotterdam, Museum Boijmans Van Beuningen

In the early 1620s Annibale Carracci's Bolognese followers pursued his ideas under the protection of a small group of art lovers and intellectuals of whom a number were ecclesiastics. Landscape painting acquired an unprecedented prestige: small-format works offered young artists the chance to earn money rapidly while the new genre made its appearance in decorative frescoes in aristocratic residences. Those painted by Domenichino at the Villa Aldobrandini in Frascati and subsequently at the Villa Ludovisi in Rome depict tranquil pastoral scenes inspired by the classical poets' vision of nature. In Domenichino's works the depiction of nature acquires a dignity comparable to that of history painting while the geometrically constructed pictorial space has a monumental character.

In Albani's compositions nature and figures are fused in an arcadian vision. His most important works are his narrative cycles based on classical mythology such as the Story of Venus series, which illustrates the rivalry between Love and Chastity personified by the goddesses, Venus and Diana.

Lanfranco worked for a period with Carracci. In 1616-17 he undertook the decoration of the Camerino degli Eremiti in the Palazzetto Farnese in Rome, depicting figures of hermits set in austere landscapes.

Northern Landscape and its Dissemination in Europe

Northern Landscape and its Dissemination in Europe
View of the Garden of the Villa Medici in Rome
Diego Velázquez
Oil on canvas, 48,5 x 43 cm
1629 – 1630
Madrid, Museo Nacional del Prado

The second decade of the seventeenth century saw the rise of Paul Bril who, around 1610, developed the model of coastal landscape to be seen in View of a Port from the Galleria Borghese. Bril intensified his contacts with the Bolognese painters who were focusing on landscape with increasing success. His studio was the focal point for the northern artists who moved to Rome from 1616-17 onwards. They included Bartholomeus Breenbergh, Cornelis van Poelenburgh and Jacob Pynas, who were united in their shared admiration for the ruins and landscape of Rome and in their interest in developing the ideas of one of the key figures of the first decade of the seventeenth century, Adam Elsheimer, whose intensive study of nature and the effects of light were assimilated during this period.

Goffredo Wals was another leading exponent of northern landscape painting. He produced small-format, generally circular compositions in which nature acquires a monumental aspect despite the small size of the works. In Spain the evolution of the genre was influenced by the landscapes painted for the Buen Retiro Palace, which had an important influence on artists such as Francisco Collantes, and by Velázquez, whose interpretation of the Venetian technique was continued by Juan Bautista Martínez del Mazo and Benito Manuel Agüero.

The Gallery of Landscapes in the Buen Retiro Palace

The Gallery of Landscapes in the Buen Retiro Palace
A Hermit Praying amongst Classical Ruins
Jean Lemair
Oil on canvas, 163 x 241,5 cm
1637 - 1638
Madrid, Museo Nacional del Prado

The construction and decoration of the Buen Retiro Palace in Madrid was the principal artistic project undertaken during the reign of Philip IV. In a surprisingly short space of time a large group of high quality paintings from different sources was assembled in the palace, of which the most important were displayed in the so-called Hall of Realms (1635). At the same time paintings were commissioned in Rome and Naples to form thematic series, notably the History of Ancient Rome series and the Gallery of Landscapes.

The paintings were commissioned in Rome and Flanders but it has proved difficult to identify the artists, the total number of series commissioned, the paintings that constituted them, their original location and the dates of the works, which must have been executed between 1635 and 1641. Among the artists who contributed paintings to the group produced in Rome were Claude Lorrain, Poussin, Lemaire and Dughet, the Dutch painters, Herman van Swanevelt and Jan Both, and the Neapolitan, Salvator Rosa.

It would seem that the artists received precise instructions on the dimensions and formats of the works, the scale of the figures, the location of the horizon line and the lighting. This commission would prove very important for the future development of landscape painting.

Claude Lorrain (c. 1600-1682)

Claude Lorrain (c. 1600-1682)
Ulysses Returns Chryseis to her Father
Claudio de Lorena
Oil on canvas, 119 x 150 cm
1644
París, Musée du Louvre, Département des Peintures

Claude Lorrain focused entirely on landscape painting and became enormously successful in this genre. It would seem that he first spent time in Rome in 1620, followed by a period in Naples in the house of the painter Goffredo Wals. On his return to Rome he began to work with Agostino Tassi, his master from 1622 to 1625. After a period in France he settled permanently in Rome where he became an independent painter and associated with other artists who shared his aesthetic approach such as Herman van Swanevelt, Joachim von Sandrart and Peter van Laer, known as Il Bamboccio, whose figures Lorrain imitated in the early 1630s.

Lorrain's landscape painting combined three traditions. From Domenichino he adopted the order and equilibrium typical of the Bolognese school; Goffredo Wals was his model for a close observation of nature; while from Agostino Tassi he assimilated a use of classical and Renaissance texts as sources of episodes not previously depicted in art. Lorrain established his pictorial universe on the basis of their work but surpassed them with regard to the imaginary settings for his architectural structures, a use of distant horizons bathed in greys, pinks and golds, and the disposition of the buildings in foreshortening that creates a succession of receding planes reminiscent of theatrical sets.

Nicolas Poussin (1594-1665)

Nicolas Poussin (1594-1665)
Landscape with the Funeral of Phocion
Nicholas Poussin
Oil on canvas, 117,5 x 178 cm
1648
Private collection, deposited in Cardiff, Amgueddfa Cymru – National Museum Wales

Poussin's career can be divided into two distinct periods. The first evolved in the 1630s and 1640s and is characterised by the geometrical rigour of the compositions and volumes. The second runs from the mid-1650s until his death and is marked by a particular sensitivity towards atmospheric effects. The first phase, which is represented by the works in this exhibition, reveals the most academic, classicising and French facet of the artist.

Landscapes from the late 1630s such as Pan and Syrinx(1637) reveal a perfect harmony between figure and landscape. By the end of the following decade Poussin was paintings works such as Saint John on Patmos (1640), which can be described as pure landscape. Landscape with the Funeral of Phocion (1648) is one of the greatest achievements of the classicising, ideal and heroic landscape of which Poussin was the acknowledged master.

The artist maintained an intense and complex relationship with the three leading landscape painters of the century. The periods of mutual influence between Poussin and Claude Lorrain remain insufficiently explained. It is known that Poussin established a lengthy working relationship with the view painter, Jean Lemaire who executed the architectural backgrounds in a number of his works. This was probably also the case with Poussin's brother-in-law, Gaspard Dughet who painted some of his landscape backgrounds. Dughet in turn employed other painters such as Jan Miel for this purpose.

Artworks

1

River Landscape

Annibale Carracci

Oil on canvas, 88,3 x 148,1 cm

ca. 1599

Washington, National Gallery of Art, Samuel H. Kress Collection (1952.5.58)

2

Coastal View with the Temple of the Sibyl

Jan Brueghel

Oil on panel, 21 cm (diameter)

ca. 1595

Kassel, Museumslandschaft Hessen Kassel, Gemäldegalerie Alte Meister

3

View of the Campo Vaccino with the Cattle Fair

Paul Bril

Oil on copper, 21,5 x 29,6 cm

1600

Dresden, Staatliche Kunstsammlungen Dresdenn, Gemäldegalerie

4

Abraham’s Sacrifice

Annibale Carracci

Oil on copper, 46 x 35 cm

ca. 1599 – 1600

Paris, Musée du Louvre, Département des Peintures

5

Landscape with Saint John the Baptist preaching

Annibale Carracci

Oil on canvas, 39 x 52 cm

ca. 1601

Grenoble, Musée de Grenoble (deposit of Musée du Louvre, 1897)

6

The Toilet of Venus

Francesco Albani

Oil on canvas, 90 x 100 cm

ca. 1610

Bolonia, Pinacoteca Nazionale di Bologna

7

Landscape with Washerwomen

Domenichino (Domenico Zampieri)

Oil on canvas, 57,5 x 68,5 cm

ca. 1603 – 1605

Paris, Musée du Louvre, Département des Peintures

8

The Massacre of the Innocents

Sebastian Vrancx

Oil on canvas, 83 x 110 cm

1600

Parma, Galleria Nazionale (deposited in la Camera dei Deputati, Rome, 1957)

9

Cowherd and Cattle

Annibale Carracci

Pen and brown ink with brown wash, 19,8 x 26,8 cm

ca. 1616 – 1618

Paris, Musée du Louvre, Département des Arts graphiques

10

Landscape with Travellers on a Path

Annibale Carracci

Pen and brown ink, 20,3 x 27,1 cm

Paris, Musée du Louvre, Département des Arts graphiques

11

Landscape with the Temple of the Sibyl at Tivoli

Paul Bril

Charcoal, Pen and brown ink with grey wash, 20 x 27,7 cm

Paris, Musée du Louvre, Département des Arts graphiques

12

View of a Port

Matthijs Bril (attributed to)

Pen and brown ink, 21,5 x 31 cm

Paris, Musée du Louvre, Département des Arts graphiques

13

Rushing Water in a Rocky Ravine

Matthijs Bril

Pen and brown ink, 26,3 x 20,3 cm

Paris, Musée du Louvre, Département des Arts graphiques

14

The Death of Adonis

Francesco Albani

Pen and brown ink with brown wash, 18,9 x 26,5 cm

ca. 1605 – 1617

London, The British Museum

15

The Rest on the Flight into Egypt

El Caballero de Arpino (Giuseppe Cesari)

Oil on copper, 43,2 x 31,7 cm

ca. 1596 – 1597

Boston, Museum of Fine Arts,Gift of John Goelet

16

Landscape with Saint Fulgentius

Jan Brueghel

Oil on copper, 26 x 35 cm

ca. 1595

Vienna, Kunsthistorisches Museum Wien, Gemäldegalerie

18

View of a Port

Paul Bril

Oil on canvas, 107 x 151 cm

ca. 1612

Rome, Galleria Borghese

20

Ariadne abandoned

Carlo Saraceni

Oil on panel, 98 x 125 cm

ca. 1608

Naples, Museo di Capodimonte

21

Salmacis and Hermaphrodite

Carlo Saraceni

Oil on panel, 98 x 125 cm

ca. 1608

Naples, Museo di Capodimonte

22

Saint Christopher

Orazio Gentileschi

Oil on copper, 21 x 28 cm

ca. 1605 – 1615

Berlin, Staatliche Museen zu Berlin, Gemäldegalerie

23

Aurora

Adam Elsheimer

Oil on copper, 17 x 22 cm

ca. 1606

Brunswick, Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen

24

Aurora

Adam Elsheimer

Pen and brown ink,17,8 x 26,7 cm

ca. 1600 – 1606

Berlin, Staatliche Museen zu Berlin,Kupferstichkabinett

25

Landscape with Tobias and the Angel

Domenichino (Domenico Zampieri)

Oil on copper,  45,1 x 33,9 cm

ca. 1610 – 1612

London, The National Gallery, Holwell Carr Bequest, 1831

26

Study for the fresco of Apollo and Daphne in the Villa Aldobrandini at Frascati

Domenichino (Domenico Zampieri)

Pen and brown ink,  25,6 x 19,4 cm

ca. 1616 – 1618

United Kingdom, The Royal Collection

27

Landscape with Fortifications and Figures

Domenichino (Domenico Zampieri)

Lápiz, 34,3 x 50,5 cm

ca. 1634 – 1635

United Kingdom, The Royal Collection

28

Landscape with Hercules and Achelous

Domenichino (Domenico Zampieri)

Oil on canvas, 121 x 149 cm

ca. 1621 – 1623

Paris, Musée du Louvre, Département des Peintures

29

Landscape with Hercules and Cacus

Domenichino (Domenico Zampieri)

Oil on canvas, 121 x 149 cm

ca. 1621 – 1623

Paris, Musée du Louvre, Département des Peintures

30

Latona turning the Lycian Peasants into Frogs

Pietro Paolo Bonzi

Oil on panel, 34 x 45 cm

ca. 1625

Paris, Musée du Louvre, Département des Peintures

31

Landscape with Women bathing (The Bath of Diana)

Guercino (Giovanni Francesco Barbieri)

Oil on canvas, 36 x 53 cm

ca. 1618

Rotterdam, Museum Boijmans Van Beuningen

32

The Vision of St. Eustace

Giovan Battista Viola

Oil on canvas, 68 x 68 cm

ca. 1610 – 1620

Paris, Musée du Louvre, Département des Peintures

33

Landscape with Saint John the Baptist

Paul Bril

Oil on canvas, 70 x 70 cm

ca. 1620

Paris, Musée du Louvre, Département des Peintures

34

Landscape with River

Giovan Battista Viola

Oil on canvas, 37 x 49 cm

ca. 1604 – 1605

Budapest, Szépmüvészeti Múzeum

35

The Conversion of Saint Paul

Sisto Badalocchio

Oil on canvas, 80 x 110 cm

ca. 1620

Rome, private collection

36

Saint John baptizing the Multitudes in the River Jordan

Sisto Badalocchio

Oil on canvas, 89 x 113 cm

ca. 1617

Módena, Galleria, Museo e Medagliere Estense

37

Landscape with the Flight into Egypt

Domenichino (Domenico Zampieri)

Oil on canvas, 164 x 213 cm

1621 – 1623

Paris, Musée du Louvre, Département des Peintures

38

Seascape

Pietro da Cortona

Oil on panel, 17 x 27 cm

ca. 1625

Rome, Pinacoteca Capitolina

39

Landscape

Pietro da Cortona

Oil on panel, 16 x 27 cm

ca. 1625

Rome, Pinacoteca Capitolina

40

Landscape with two Temples

Pietro da Cortona

Oil on canvas, 84 x 110 cm

ca. 1626

Ciudad del Vaticano, Musei Vaticani

41

Ruggiero rescuing Angelica

Giovanni Lanfranco

Oil on canvas, 92 x 130 cm

ca. 1616

Urbino, Galleria Nazionale delle Marche, donación Volponi

42

Christ in the Desert attended by Angels

Giovanni Lanfranco

Oil on canvas, 41 x 54 cm

1616 – 1617

Naples, Museo di Capodimonte

43

The rest on the Flight into Egypt

Francesco Albani

Oil on panel, 52 x 62 cm

ca. 1607

Princeton, Princeton University Art Museum, Museum Purchase

44

The Toilet of Venus

Francesco Albani

Oil on canvas, 154 (diameter)

ca. 1617

Rome, Galleria Borghese

45

Venus and Adonis

Francesco Albani

Oil on canvas,

ca. 1617

Rome, Galleria Borghese

46

House in the Mountains

Goffredo Wals

Oil on copper, 23,5 cm (diameter)

ca. 1623

Bremen, Kunsthalle Bremen–Der Kunstverein in Bremen

47

The Walls of Rome

Goffredo Wals

Oil on canvas, 30,2 x 38 cm

ca. 1620

London, The Gere Collection, deposited in The National Gallery

48

House on a country Road

Goffredo Wals

Oil on copper, 24,5 cm (diameter)

ca. 1619 – 1620

Cambridge, prestado por The Syndics of the Fitzwilliam Museum

49

Landscape with the Rest on the Flight into Egypt

Pieter Lastman

Oil on panel, 31,2 x 51,2 cm

ca. 1608

Berlin, Staatliche Museen zu Berlin,Gemäldegalerie

50

John the Baptist in Prayer

Jacob Pynas

Oil on canvas, 89 x 117 cm

ca. 1617–18 (?)

Florence, Galleria Palatina, Palazzo Pitti

51

The Fall of Simon Magus

Leonaert Bramer

Oil on copper, 29 x 39,3 cm

1623

Dijon, Musée des Beaux-Arts

52

Landscape with a ruined Bridge

Salvator Rosa

Oil on canvas, 106 x 127 cm

ca. 1645 – 1647

Florence, Galleria Palatina, Palazzo Pitti

53

Coastal Landscape with Cattle

Salvator Rosa

Oil on canvas, 144 x 176,7 cm

1640

Cleveland, The Cleveland Museum of Art, Gift of Rosenberg & Stiebel, Inc. (1958.472)

54

Seascape with Towers

Salvator Rosa

Oil on canvas, 102 x 127 cm

ca. 1645 – 1647

Florence, Galleria Palatina, Palazzo Pitti

55

River Landscape with Travellers

Filippo Napoletano

Oil on canvas, 93 x 120 cm

ca. 1617 – 1620

Florence, Galleria Palatina, Palazzo Pitti

56

Latona and the Lycian Peasants

Filippo Napoletano

Oil on copper, 48,5 x 61,5 cm

ca. 1624

Bonn, LVR–Landesmuseum, Rheinisches Landesmuseum für Archäologie, Kunst- und Kulturgeschichte

57

View of the Campo Vaccino

Cornelis van Poelenburgh

Oil on copper, 40 x 54,5 cm

1620

Paris, Musée du Louvre, Département des Peintures

58

Romen Ruins and Low-relief

Cornelis van Poelenburgh

Oil on copper, 44 x 57 cm

ca. 1620

Paris, Musée du Louvre, Département des Peintures

59

Landscape with the Temple of Minerva Medica

Bartholomeus Breenbergh

Oil on panel, 54,5 x 72 cm

ca. 1627

Wurzburg, Martin von Wagner-Museum der Universität Würzburg

60

Landscape with Ruins

Cornelis van Poelenburgh

Oil on copper, 16,7 x 22 cm

ca. 1617 – 1620

Florence, Galleria Palatina, Palazzo Pitti

61

Landscape with Christ and the Samaritan Woman

Bartholomeus Breenbergh

Oil on canvas, 34,7 x 54 cm

1625

Zurich, Thyssen-Bornemisza Collections

62

View of the Temple of the Sibyl at Tivoli

Cornelis van Poelenburgh
Pen and brown ink with brown wash, over pencil, 25,1 x 39,7 cm
Amsterdam, Rijksmuseum, adquired with the support of the Vereniging Rembrandt, the Rijksmuseum Stichting and the De Ster Holding BV

63

View of the Forum

Bartholomeus Breenbergh

Pen and brown ink with brown wash, over black chalk, 32,2 x 22,9 cm

1627

Vienna, Albertina

66

The Temptations of Saint Anthony

Claudio de Lorena

Pen and brown ink with brown wash, hightened with white, on blue paper, 19,6 x 26 cm

1638

London, The British Museum  

78

Landscape with a Scene of Witchcraft

Agostino Tassi

Oil on canvas, 65 x 76 cm

1625 – 1626

Baltimore, Maryland, The Walters Art Museum

79

Landscape with a Goatherd

Claudio de Lorena

Oil on canvas,  52 x 42 cm

1634 – 1635

London, The National Gallery (presented by Sir George Beaumont, 1826) 

80

View of La Crescenza

Claudio de Lorena

Oil on canvas, 38,7 x 58,1 cm

1648 – 1650

New York, The Metropolitan Museum of Art, Purchase, The Annenberg Fund Inc. Gift, 1978

81

Landscape with a large Tree

Claudio de Lorena

Pen and brown ink with brown wash, heightened with white on blue paper, 21 x 31 cm

ca. 1640 – 1645

Geneva, Jean Bonna Collection

82

Landscape with the Tiber at the Foot of a Cliff

Claudio de Lorena

Pen and brown ink with brown wash, over black chalk, 19,9 x 26,7 cm

ca. 1635 – 1640

Vienna, Albertina

83

Ariadne abandoned

Agostino Tassi

Black chalk traces, pen and brown ink, 25,7 x 20,2 cm

ca. 1632

Florence, Istituti museali della Soprintendenza Speciale per il Polo Museale Fiorentino, Galleria degli Uffizi, Gabinetto dei Disegni e delle Stampe

84

The Arrival of Cleopatra at Tarsus

Agostino Tassi

Oil on canvas, 98 x 129 cm

ca. 1636

Paris, Galerie Canesso 

85

The Abduction of Helen

Claudio de Lorena

Oil on canvas, 77 x 105 cm

1627

United Kingdom, private collection   

86

View of a Port con el Campidoglio

Claudio de Lorena

Oil on canvas, 53 x 72 cm

1636

Paris, Musée du Louvre, Département des Peintures

 

87

The Trojan Women setting fire to their Fleet

Claudio de Lorena

Oil on canvas, 105,1 x 152,1 cm

1643

New York, The Metropolitan Museum of Art, Fletcher Fund 1955

88

Ulysses returns Chryseis to her Father

Claudio de Lorena

Oil on canvas, 119 x 150 cm

1644

Paris, Musée du Louvre, Département des Peintures

89

Landscape with two Figures talking in the Foreground

Nicolas Poussin

Black chalk, pen and brown ink, 26,7 x 40,7 cm

ca. 1651

Paris, Musée du Louvre, Département des Arts graphiques

90

Saint Mary of Egypt receiving Communion from Saint Zosimus

Nicolas Poussin

Pen and brown ink with brown wash, 22,5 x 19,4 cm

ca. 1646

United Kingdom, The Royal Collection  

91

Landscape

Nicolas Poussin

Pen and brown ink with grey wash, 25,1 x 48,8 cm

ca. 1646 – 1650

Turino, Biblioteca Reale

92

Landscape with Waterfall (The Angel appearing to Elijah, study for the church of San Martino ai Monti, Rome)

Gaspard Dughet

Pen and brown ink with brown wash, 11,2 x 28,5 cm

ca. 1647 – 1651

Paris, Musée du Louvre, Département des Arts graphiques

93

View of Grottaferrata with Venus, Adonis and a River God

Nicolas Poussin

Oil on canvas, 74,5 x 112 cm

1626

Montpellier, Musée Fabre, Montpellier Agglomération

94

Nymphs and Satyrs

Nicolas Poussin

Oil on canvas, 66,4 x 50,3 cm

1627

London, The National Gallery, Holwell Carr Bequest, 1831 

95

Pan and Syrinx

Nicolas Poussin

Oil on canvas, 106 x 82 cm

ca. 1637

Dresden, Staatliche Kunstsammlungen Dresdenn, Gemäldegalerie Alte Meister     

96

Landscape with Saint John on Patmos

Nicolas Poussin

Oil on canvas, 102 x 136 cm

1640

Chicago, The Art Institute of Chicago, A. A. Munger Collection

97

Landscape with Travellers

Gaspard Dughet and Jan Miel

Oil on canvas, 126,4 x 174,6 cm

ca. 1640

Cambridge, préstamo de The Syndics of the Fitzwilliam Museum, adquirido con la ayuda de The National Art Collections Fund, 1969

98

Landscape with Hunters

Gaspard Dughet

Oil on canvas, 127 x 175,2 cm

ca. 1636 – 1640

Cleveland, The Cleveland Museum of Art, John L. Severance Fund

99

Landscape with the Arco degli Argentari and the Colosseum

Jean Lemaire

Oil on canvas, 64,5 x 82 cm

ca. 1639

Parentignat (Puy-de-Dôme), Marquis de Lastic Collection, Château de Parentignat

101

Landscape with the Funeral of Phocion

Nicolas Poussin

Oil on canvas, 117 x 178 cm

1648

United Kingdom, private collection, deposited in Cardiff, Amgueddfa Cymru–National Museum Wales 

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