French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,  Related Paintings of POUSSIN, Nicolas :. | The Assumption of the Virgin | Self-Portrait af | Strormy Landscape with Pyramus and Thisbe | Tanecred and Erminia | Autumn |
Related Artists:
Marx Reichlich
1460-1520 German Marx Reichlich Gallery Austrian painter. His name, which first appeared in records of Salzburg citizens in 1494, has been linked (Semper) to an artist who signed some of his paintings with the initials M R. The earliest of the initialled panels, the Adoration of the Magi with the Donor Heinrich Mentlberger (1489; Innsbruck, ex-Wilten Abbey Church; Innsbruck, Tirol. Landesmus.), suggests that Reichlich had trained with the Tyrolean artists Friedrich Pacher and Michael Pacher. The latter lived in Salzburg from 1495 to 1498, and the stylistic association with him visible in the Perckhamer Altarpiece (c. 1495-8; Austria, priv. col., see Oberhammer, nos 1-12) may account for Reichlich's having become a citizen in Salzburg. The connections with both Pachers and the fact that Reichlich received several commissions in Neustift (Novacella, nr Bressanone) suggest that his origins were in that region. According to a receipt dated 1499, he painted a panel (untraced) for the Benediktinerstift of St Lambrecht in Styria. In 1508 Emperor Maximilian I commissioned him to restore the frescoes (in situ) in Schloss Runkelstein near Bozen (Bolzano). The latest panels signed with the initials M R make up part of a double-winged altarpiece (Heiligenblut, St Vincent) that was completed by one 'Wolffgang Maller' in 1520, perhaps because Reichlich was no longer living. Also attributed to Reichlich on stylistic, technical and circumstantial grounds are eight portraits (c. 1519-20) formerly assigned to a 'Master of the Angrer Portrait' whose name was derived from the riveting bust-length portrait of Canon Gregor Angrer of Brixen (1519; Innsbruck, Tirol. Landesmus.).
James Gay Sawkins
(1806-1878) was an artist who was born in 1806 in Yeovil, Somerset, England. At the age of 14, he moved to Baltimore, Maryland with his family, where he made his living painting miniature portraits on ivory. He lived in Cuba from 1835 to 1845 and visited Hawaii from January, 1850 to June, 1852. After working in Australia, he returned to England in 1855. Sawkins died in 1878 in Turnham Green (near London), England. The Honolulu Academy of Arts, Mission House Museum (Honolulu, Hawaii) and the National Library of Australia (Canberra) are among the public collections holding works by James Gay Sawkins.
Onderdonk, Julian
American, 1882-1922 was a Texan Impressionist painter, often called "the father of Texas painting." He attended West Texas Military Academy and was graduated in 1900. Julian Onderdonk was born in San Antonio, TX to Robert Jenkins Onderdonk (a painter) and Emily Gould Onderdonk. He was raised in South Texas and was an enthusiastic sketcher and painter. At 19, with the help of a generous neighbor, Julian left Texas in order to study with the renowned American Impressionist William Merritt Chase. Julian's father, Robert, has also once studied with Chase. Julian spent the summer of 1901 on Long Island at Chase's Shinnecock School of Art. He studied with Chases for a couple of years and then moved to New York to attempt to make a living as an eu plain aire artist. While in New York he met and married Gertrude Shipman and they soon had a son.