Nicolas Poussin (15 June 1594 – 19 November 1665) was a French painter in the Classical style. His work predominantly features clarity, logic, and order, and favors line over color. Until the 20th century he remained the dominant inspiration for such classically oriented artists as Jacques-Louis David and Paul Cézanne.
He spent most of his working life in Rome except for a short period when Cardinal Richelieu ordered him back to France as First Painter to the King.

Early years in Rome
Louis XIII conferred on him the title of First Painter in Ordinary. In two years at Paris he produced several pictures for the royal chapels (the Last Supper, painted for Versailles, now in the Louvre), eight cartoons for the Gobelins tapestry manufactory, the series of the Labors of Hercules for the Louvre, the Triumph of Truth for Cardinal Richelieu (Louvre), and much minor work.
In 1643, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for De Chanteloup the second series of the Seven Sacraments (Bridgewater Gallery), and also his noble landscape with Diogenes throwing away his Scoop (Louvre). In 1649 he painted the Vision of St Paul (Louvre) for the comic poet Paul Scarron, and in 1651 the Holy Family (Louvre) for the duc de Créquy. Year by year he continued to produce an enormous variety of works, many of which are included in the list given by Félibien.
He died in Rome on November 19, 1665 and was buried in the church of San Lorenzo in Lucina, his wife having predeceased him. Chateaubriand in 1820 donated the monument to Poussin.
Poussin left no children, but he adopted as his son Gaspar Dughet (Gasparo Duche), his wife's brother, who took the name of Poussin.

Poussin in France
The finest collection of Poussin's paintings as well as of his drawings is at the Louvre; in the UK, besides the pictures in the National Gallery and at Dulwich, England possesses several of his most considerable works: The Triumph of Pan is at Basildon House, near to Pangbourne, (Berkshire), and his great allegorical painting of the Arts at Knowsley. At Rome, in the Colonna and Valentini Palaces, are notable works by him, and one of the private apartments of Prince Doria is decorated by a great series of landscapes in distemper.
Throughout his life he stood aloof from the popular movement of his native school. French art in his day was purely decorative, but in Poussin we find a survival of the impulses of the Renaissance coupled with conscious reference to classic work as the standard of excellence. In general we see his paintings at a great disadvantage: for the color, even of the best preserved, has changed in parts, so that the harmony is disturbed; and the noble construction of his designs can be better seen in engravings than in the original. Among the many who have reproduced his works, Audran, Claudine Stella, Picart and Pesne are the most successful.
Poussin was a prolific artist. Among his many works are:
1) Baptism (image)
2) Ordination (image)
3) Confirmation (image)
4) Penance (image)
5) Eucharist (image)
6) Marriage (image)
7) Extreme Unction (image)

Some of the paintings by Poussin at the Louvre, Paris:

• The Plague at Ashdod
  The Judgment of Solomon (1649)
  The Blind Men of Jericho (1650)
  The Adulteress (1653)
  Arcadian Shepherd
  A few of Poussin's other paintings:
  
  
  
  • Adoration of the Golden Calf (National Gallery, London);
    Holy Family on the Steps (National Gallery, Washington, D.C.);
    Cacus (St. Petersburg);
    The Testament of Eudamidas (Copenhagen);
    "The Rape of the Sabine Women"(1636)
    The Destruction of Jerusalem (1637);
    Hebrews Gathering Manna (1639);
    Moses Rescued from the Waters (1647);
    Eliezer and Rebecca (1648);
    Landscape with Polyphemus (1649);
    Seven Sacraments (Double series - The first series was commissioned by Cassiano del Pozzo in the second half of the 1630s and was sold to the Dukes of Rutland in 1784. One of the seven, "Penance", was destroyed in a fire at the Rutland's Belvoir Castle in 1816, and "Baptism" was acquired by the National Gallery of Art in Washington DC in 1939. The remaining 5 were still at Belvoir Castle at the time when Anthony Blunt wrote his catalogue in 1966. The second series was painted for Paul Freart de Chantelou from 1644-1648 and was acquired by the Dukes of Bridgewater in 1798. The paintings passed by descent to the Earls of Ellesmere, the last of whom became the Duke of Sutherland in 1964. At least part of the series (if not all?) is currently on loan at the National Gallery of Scotland, Edinburgh. (Source: Anthony Blunt, "The Paintings of Nicholas Poussin." Phaidon Press, London: 1966.)
    A Dance to the Music of Time (1639-40), (Wallace Collection, London) Works
    Poussin has had a profound influence on French and on world art as a self-reflexive "artist's artist".
    Initially, Poussin's genius was recognized only by small circles of collectors. It appears from the record that he failed to please Louis XIV, being, it appears, unfit for Court intrigue. At the same time, after his death, it was recognized that he had contributed a new theme of "classical severity" to French art.
    Benjamin West, an American painter of the 18th century who worked in Britain, based his canvas of the death of General Wolfe at Quebec on Poussin's example. As a result, the image is one in which each character (including a rather fanciful Native American) knows how to gaze with appropriate seriousness on Wolfe's famous death after securing British domination of North America. Subsequently many military painters of the 19th century followed Poussin's compositional examples in order to make sure the strategic situation, or role of the favored individual, was highlighted properly in an era when people learned facts from paintings.
    Jacques-Louis David resurrected a style already known as "Poussinesque" during the French revolution in part because the leaders of the Revolution, following in part the American example, looked to replace the frivolity and oppression of the court with Republican severity and civic-mindedness, most obvious in David's dramatic canvas of Brutus receiving the bodies of his sons, sacrificed to his own principles, and the famous death of Marat.
    Throughout the 19th century, Poussin, available to the ordinary person's gaze because the Revolution had opened the collections of the Louvre, was inspirational for thoughtful and self-reflexive artists who pondered their own work methods, notably Cézanne. The less thoughtful enjoyed the eroticism of some Poussin's classicizing subjects (illustration, left).
    Ironically, as official French art became standardized with the establishment, under the returned monarchy, the monarchy of the "Citizen King" and the Second Empire, of institutions for the support and normalization of French art, the leading and most successful Salon artists, at one and the same time, apotheosized Poussin while departing from his spirit. Ingres' paintings, while in a superficial polish emulating "Poussin" are far more in the late-Romantic and Orientalizing spirit, combining significant distortion with a photographic sheen that would have puzzled Poussin.
    Bouguereau's nudes and classical-genre paintings give likewise a superficial homage to "Poussin" as a club with which to keep down the canaille but their photographic sheen, again, has nothing to do with the painterly struggles which are evident in Poussins in galleries (which even the best reproductions do not show).
    The post-Impressionists were in fact more deeply influence by Poussin.
    Cézanne's artistic career, in fact, somewhat tracked that of Poussin who in early life experimented (with a signal lack of success) in dramatic colors and diagonal compositions. Poussin was stumbling after Caravaggio while Cézanne was haunted by the demon of a powerful sexuality later sublimated; but both discovered the "clarity, order, and rigor" which personalities such as theirs have to adopt as a second nature.
    In late life Cézanne announced that he was recreating Poussin "after nature", which may seem strange, since Cézanne, unlike Poussin, painted directly on the canvas and without Poussin's 17th century mechanisms of predrawn "cartoons" pounced onto the canvas and underpainting in monochrome.
    What Cézanne meant, and what is evident in his late work, is a painterly pursuit of three-dimensional composition in space. This is evident when we compare Poussin to David, for David had the neo-Classical tendency to see the Poussinesque as a frieze; and yet the examination, for example, of the painting of the marriage of Orpheus and Euridyce in situ, in the Louvre, shows a complex three-dimensional drama.
    Just as Mont Ste-Victoire is so clearly, in the late Cézanne, situated beyond the railway cut and bay, the only person in Poussin's painting to actually notice Euridyce's distress is a fisherman, to whom the eye is led in the near background after it travels through a group of wedding guests, arranged not in a frieze but in three dimensions.
    In fact, the painting upon examination turns out to be about Orpheus' failure to "see" Euridyce, a failure echoed in the legend when Orpheus is forbidden to look upon Eurydice as he escorts her from Hades.
    In the twentieth century any number of art critics have suggested that the "analytic Cubist" experiments of Pablo Picasso and Georges Braque were founded upon Poussin's example.
    The most famous 20th-century scholar of Poussin was the Englishman Anthony Blunt, Keeper of the Queen's Pictures, who in 1979 was disgraced by revelations of his complicity with Soviet intelligence.
    Today, Poussin's paintings at the Louvre reside in a gallery dedicated to him.
    
    Historical reception of Poussin
    
    Baroque
    Western painting
    History of painting Notes
    
    This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.
    Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue (Phaidon) 1966.
    Walter Friedlaender, Nicolas Poussin: A New Approach (New York: Abrams) 1964.