List of Nicolas Poussin paintings

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

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 angel1620–1621 c.173 x 108 cmPainting from the église Saint-Germain-l'Auxerrois (Paris)[1]Rouen, musée des beaux-arts3/R51
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.[2] Sterrebeek, Sint-Pancratiuskerk church11/91
Moses left by the river1624 c.145 x 196 cmBought in Paris in 1742 by Augustus III of SaxonyDresden, Gemäldegalerie Alte Meister15/10
Triumph of a poet or Triumph of Ovid1624–1625 c.148 x 176 cmAttribution contested by Anthony Blunt Rome, Palazzo Corsini13/R92
Rinaldo and Armida1624–1625 c. (or 1630 ?)80 x 107 cm London, Dulwich Picture Gallery20/202
Cephalus and Aurora1624–1625 c.79 x 152 cmAcquired by the Worsley collection before 1770 York, Hovingham Hall, Worsley Collection25/145
The Mount of Olives1624–1625 c.62 x 49 cmOil on copper, formerly in the dal Pozzo collection, rediscovered 1985Private collection27/
Venus and Adonis1624–1625 c.98.5 x 134.6 cm Attribution contested by BluntFort Worth, Kimbell Art Museum[3]30/R107
Child with a cornucopia1624–1625 c.54,8 x 51,8Recorded in the collection in 1713. Attribution contested by BluntRome, Palazzo Pallavicini-Rospigliosi31/
Sleeping Venus with Cupid or Venus espied by shepherds1624–1626 c.71 x 96 cmMentioned in the inventory of the Electors of Saxony in 1722. Attribution uncertain.Dresden, Gemäldegalerie Alte Meister[4]28/189
Mercury, Herse and Aglaulus1624–1626 c.53,5 x 77,5 cmFrom the collection of Jacques-Édouard Gatteaux, damaged by fire during the Paris Commune (1871)Paris, École nationale supérieure des beaux-arts[5]29/164
Rinaldo and Armida1625 c.95 x 133 cmAcquired by Catherine II of Russia and sent to Moscow in 1930Moscow, Pushkin Museum16/203
Gideon's Battle against the Midianites1625–1626 c.98 x 137 cmCommissioned by the Roman nobleman Marcello Sacchetti Rome, Pinacoteca Vaticana21/31
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 Museum18/30
Joshua's Victory over the Amalekites 1625–1626 97,5 x 134 cmPendant to Victory over the Amorites. Sold by Poussin for 7 écus, bought by Catherine II of Russia Saint-Petersburg, Hermitage Museum17/29
Bacchanale or Bacchus and Ariadne1625–1626122 x 169 cmMentioned 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, Prado24/R66
Cephalus and Aurora1625–1626 c.96,9 x 131,3 cmBought by the National Gallery in 1831. Re-dated to 1626–1627 from a brand on the back. London, National Gallery43/144
Venus and Adonis1625–1626 (vers)75 x 100 cmCollection of Sir Joshua Reynolds in 1766 Providence (Rhode Island), Rhode Island School of Design Museum of Art42/185
Landscape with nymph and satyr or Amor Omnia Vincit1625–1627 c.97 x 127,5 cmAttribution supported by Rosenberg but rejected by Thuillier and Blunt; Blunt attributes it to Pier Francesco Mola Cleveland, Museum of ArtR124/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 Condé60/168
The Massacre of the Innocents 1625–1629 c. 147 x 171 cm Painted for Vincenzo Giustiniani. Bought by the duc d'Aumale in 1854Chantilly, musée Condé19/67
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-Arts26/186
The Destruction of the Temple in Jerusalem1626145,8 x 194 cmPainted 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[6]Jerusalem, Israel Museum35/
View of Grottaferrata, made up of Venus and Adonis and Landscape with a river god1626 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[7] Montpellier, musée Fabre22/R105
Apollo and Daphne1626 c.97 x 131 cmIn the Elector of Bavaria's collection in 1782. Munich, Alte Pinakothek23/130
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 Barberini36/192
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 Barberini37/193
Lamentation over the dead Christ 1626 102 x 148 cm In the collections of the Elector of Bavaria in the 18th century Munich, Alte Pinakothek38/82
Venus surprised by satyrs162677 x 100 cmAttribution rejected by Blunt then by Thuillier but recently reattributed to Poussin[8]Zurich, KunsthausB7/R113
Bacchic scene or Nymph riding a satyr1626 c.96 x 74,5 cmMentioned in 1749 in the collection of William VIII, Landgrave of Hesse-Kassel Kassel (Hesse), Old masters gallery of the Lande of Hesse44/198
Descent from the cross or The deposition from the cross1626 c.119 × 98 cmCollection of Heinrich von Brühl, whole collection acquired by Catherine II of Russia in 1768 Saint-Petersburg, Hermitage Museum39/80
The Infancy of Bacchus1626 c.135 x 168 cmBought by the duc d'Aumale in England in 1859 Chantilly, musée Condé46/134
The Mount of Olives1626 c. or 1632–163360,5 x 47 cmoil on copper, formerly in the Barberini collection. Sold at auction for $6.7 million to a private buyer in January 1999[9]Private collection88
Helios and Phaeton with Saturn and the Four Seasons or Apollo loaning his chariot to Phaeton1626–1627 c.122 x 153 cmLocated in Paris in 1674, then Potsdam in 1773 Berlin, Gemäldegalerie51/172
The Nurture of Bacchus or A Little Bacchanal1626–1627 c.97 x 136 cmAcquired by the French royal collection before 1683. Attribution rejected by Anthony BluntParis, musée du Louvre50/R64
The Nurture of Bacchus or The Infancy of Bacchus1626–1627 c.75 x 97 cm London, National Gallery52/133
Venus and Mercury, made up of Venus and Mercury (image, left) and Concert of loves1626–1627 c.78 x 85 cm et 57 x 51 cmOriginal composition known through a drawing in the Louvre. Cut up during the 18th century.[10] London, Dulwich Picture Gallery and Paris, musée du Louvre34/184
Virgin and Child1626–1627 c.58,5 x 49,5 cmDal Pozzo collection. Pendant to the Piéta at Cherbourg, repaintedBrighton, Preston Manor40
Piéta1626–1627 c.57,5 x 48,5 cm Dal Pozzo collection. Pendant to the Brighton Virgin and ChildCherbourg, musée Thomas-Henry41/81
Bacchus-Apollo or Bacchus and Erigone1626–1627 c. (or c. 1628 ?)98 x 73,5 cmOriginally used for Bacchus-Erigone, then painted over by Poussin with a Bacchus-Apollo. Much later repainting, to cover the figures' genitalia.Stockholm, Nationalmuseum53/135
Bacchic scene or Nymph and satyr drinking1626–162874 x 60 cmCopy of the Moscow painting considered to be by Poussin himself Madrid, Prado45a/200
Bacchic scene or Nymph and satyr drinking1626–162877 x 62 cmCopy of the Prado painting considered to be by Poussin himself Moscow, Pushkin Museum45b/200
Midas washing himself in the source of the river Pactolus1626–1628 c.97,5 x 72,5 cm Acquired by the museum in 1871 New York, Metropolitan Museum of Art47/165
Midas at the source of the Pactolus1626–1628 c.50 x 66 cmSold on 19 February 2011[11]Ajaccio, Musée Fesch48/166
Olympos and Marsyas1626–1628 c.102,5 x 89,5 cmRediscovered in 1969 by Pierre Rosenberg, bought by the musée du Louvre then returned to its owners in 1978 after a judicial hearing[12]Private collection49
Narcissus and Cupid1626–1629 c.53 x 41,9 cmRediscovered then sold at auction in 1997[13] · [14]Private collection
Sleeping nymph surprised by satyrs or Venus surprised by satyrs162766 x 50,8 cmAttribution initially rejected by Blunt and Thuillier, recently backed by Rosenberg after an X-ray London, National GalleryB8/R113
The Poet's Inspiration or The Inspiration of Anacreon1627 c. 94 x 69,5 cm In the collection of the Elector of Hanover in 1779 Hanover, Niedersächsisches Landesmuseum Hannover72/125
Acis and Galatea1627–162897 x 135 cmGiven to the gallery in 1916 Dublin, National Gallery of Ireland54/128
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 Collection67/119
Bacchanal with guitar player or The Great Bacchanal1627–1628121 × 175 cmAcquired by cardinal de Richelieu then shifted to the French royal collection Paris, musée du Louvre55/140
Echo and Narcissus 1628 74 x 100 cm Acquired by Louis XIV before 1683 Paris, musée du Louvre57/151
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 Arts58/156
The Triumph of Flora 1628 165 x 241 cm Owned by cardinal Omodei. Acquired in 1684–1685 by Louis XIV Paris, musée du Louvre56/154
The massacre of the innocents 1628 97 x 132 cm Attribution supported by Blunt but rejected by Thuillier Paris, musée du Petit PalaisB2/66
The Martyrdom of Saint Erasmus1628–162999 x 74 cmModello for the painting intended for St Peter's in Rome. Formerly in the Barberini collection, entered its present owner's collection in 1972Ottawa, National Museum of Canada68/98
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 Vaticana69/97
Midas before Bacchus1628–162998 x 130 cmLocated in Munich from 1787 Munich, Alte Pinakothek65/R89
Diana and Endymion1628–1630 (vers)122 x 169 cmPossibly formerly in the collection Jules Mazarin then of Joseph Fesch. Several repaintings by PoussinDetroit, Institute of Arts66/149
Mars and Venus1628–1630 c.155 x 213 cmFormerly in the Dal Pozzo collection Boston, Museum of Fine Arts61/183
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 Louvre79/124
Saint James the Great's vision of the Virgin Mary1629–1630 c.301 × 242 cmPossibly 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 Louvre75/102
Holy Family with St John the Baptist1629–1630101 x 75,5 cmFormerly in the collection of Heinrich Thyssen Karlsruhe, Staatliche Kunsthalle74/48
Moses sweetening the bitter waters of Marah1629–1630 (vers)152 x 210 cmEntered Simon Harcourt, 1st Earl Harcourt's collection in England in 1755. Sold at auction in 1948. Baltimore, Museum of Art76/28
The Return from Egypt1629–1630 c.112 x 94 cmPossibly the first version of the painting now in Cleveland London, Dulwich Picture Gallery77/68
The Holy Family or The Rest on the Flight into Egypt1629–1630 c.76 x 63 cmFormerly in the collection of Dr and Mrs Rudolph Heinemann, given to the museum in 1996[15] New York, Metropolitan Museum of Art78/63
The Triumph of David or David the victor1629–1630 c.100 x 130 cmCollection of cardinal Girolamo Casanate from 1664 Madrid, Prado73/34
The Rest on the Flight into Egypt1630 c.88 x 67 cmPossibly from Pierre Crozat's collection, moved to England in the 19th century Winterthour, Musée Oskar Reinhart « Am Römerholz »80/64
The Assumption of the Virgin1630–1632 c.134,4 × 98,1 cmAttribution supported by Blunt but rejected by Thuillier and Rosenberg (1994) Washington, National Gallery of ArtB20/92
Children and dogs1630–1633 c.67,5 x 50 cmFragment 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 Museum32/195
The Plague of Asdod 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 Louvre81/32
Nymph riding a goat or Venus, faun and putti1631 c.72 x 56 cm Saint-Petersburg, Hermitage Museum82/199
Children and putti playing1631 c.95 x 72 cmPossibly from the collection of Pierre Crozat, which was sold to Catherine II of Russia Saint-Petersburg, Hermitage Museum83/196
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 Meister84/155
Tancred and Erminia163198 x 147 cmAcquired in Paris in 1765 by Catherine II of Russia Saint-Petersburg, Hermitage Museum86/206
Parnassus or Apollo and the muses 1631–1632 145 x 197 cm In the Spanish royal collection from 1746 Madrid, Prado85/129
The Triumph of David1631–1633 c.117 x 146 cmProvenance prior to acquisition by Dulwich unknown. Attribution doubted by Mahon, Blunt and Thuillier London, Dulwich Picture Gallery91/33
Bacchanal before a herm 1632–1633 98 x 142,8 cm Acquired in 1826 London, National Gallery87/141
The Return from Egypt1632–1633134 x 99 cmFrom the collection of the prince of Liechtenstein, sold in 1952Cleveland, Museum of Art89/
The miraculous translation of saint Rita of Cascia or The Virgin protecting Spoleto1633 c.48 x 37 cmOil on woodLondon, Dulwich Picture Gallery97/94
Adoration of the Magi1633160 x 182 cmAcquired in 1742 in Paris by Augustus of Saxony. Signed Accad. rom. Nicolaus Pusin faciebat Romae 1633Dresden, Gemäldegalerie Alte Meister93/44
Adoration of the Shepherds1633–163498 x 74 cmPossibly 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 Gallery92/40
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 Collection141/121
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 Louvre131/179
Saint John baptising in the Jordan or Saint John baptising the people1633–1634 c. 95 x 120 cmDal 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 Center94/70
Rinaldo's Companions1633–1634 c.119 x 101 cm Dal Pozzo collection. Acquired by the museum in 1977. New York, Metropolitan Museum of Art106/205
Moses making water pour from the rock or The striking of the rock1633–1635 97 × 133 cmCollection 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 cmAcquired around 1920 in Paris by Duncan Grant. Owned by Anthony Blunt avant sa vente au musée. Montréal, Museum of Fine Arts96/215
Children playing1633–1635 c.52 x 39 cmFormerly in the collection of the duke of Westminster Lisbon, Museu Calouste Gulbenkian104/R109
Venus presenting arms to Aeneas1633–1635 c.107 x 133 cmFormerly in the collection of the prince of Cellamare Toronto, musée des beaux-arts de l'Ontario107/190
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 Arts143/207
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 Art103/180
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 Victoria99/20
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 Gallery100/26
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 Louvre108/178
Landscape with ruins or Landscape with an ancient tomb and two figures1634 c.72 x 98 cm Attribution denied by Thuillier. Blunt attributes it to Jean Lemaire, Rosenberg attributes it to PoussinMadrid, PradoR142
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 Louvre102/69
Camillus and the schoolmaster of Falerii1634–1635 c.101 x 137 cmOwned by the princes de Schaumbourg-Lippe in the 18th century. Formerly in the collection of Paul of Yugoslavia. Acquired by the museum in 1970 Pasadena (California), Norton Simon Museum109/143
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 Art116/176
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, Prado115/163
Sainte Cecilia1635 c.117,7 cm x 89 cmLocated at the Royal Alcázar of Madrid in 1734. Attribution rejected by Thuillier Madrid, musée du PradoB19/96
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 Museum132/37
The Triumph of Neptune or The Birth of Venus (Richelieu Bacchanals I)1635 or 163697,2 × 108 cmFrom a series commissioned by cardinal Richelieu for his château of the same name. Philadelphia, Museum of Art110/167
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 and the National Gallery's curators. Considered to be an original Poussin by Rosenberg.[16] London, National Gallery111/138
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 Gallery112/136
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 Art113/137
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 Rutland125/111
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 Rutland127/106
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[17]) 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 Rutland129/107
The Seven Sacraments I : Baptism or The Baptism of Christ (7)1636–164295,5 × 121 cmCompleted 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 Art130/105
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 Gallery139/161
Landscape with Juno and Argus1636–1637 c.120 x 195 cmCited in 1638 in the Giustiniani family collection in Rome Berlin, Gemäldegalerie95/160
Camillus hands over the schoolmaster of Falerii to his pupils1637252 x 265 cmPainted for Louis Ier Phélypeaux de La Vrillière Paris, musée du Louvre122/142
Pan and Syrinx or Syrinx pursued by Pan and turned into a reed1637106,5 x 82 cm Acquired by Augustus III of Saxony in Paris in 1742 Dresden, Gemäldegalerie Alte Meister120/171
Landscape with Saint Jerome1637–1638155 x 234 cmBelonging to a series of paintings of hermits commissioned from artists resident in Rome by Philip IV of Spain to decorate his Retiro palace Madrid, Prado114/103
Landscape with a man drinking1637–1638 c.63 x 78 cmPossibly from the Dal Pozzo collection, reappeared in 1939. Pendant to Landscape with resting travellersLondon, National Gallery133/213
Landscape with resting travellers1637–1638 c.63 x 75 cmPossibly Dal Pozzo collection, reappeared in 1939. Pendant to Landscape with a man drinkingLondon, National Gallery134/214
The Israelites gathering manna in the desert 1637–1639 149 x 200 cm Painted for Paul Fréart de Chantelou Paris, musée du Louvre135/21
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 Louvre136/12
Theseus rediscovering his father's sword 1638 c. 98 x 134 cm Architectural decoration painted by Jean Lemaire. Chantilly, musée Condé90/182
The Shepherds of Arcadia (Et in Arcadia ego) 1638–1639 85 x 121 cm Acquired by Louis XIV in 1685 Paris, musée du Louvre137/120
Saint Margaret1638–1640 c.220 x 145 cmPossibly commissioned by Dal Pozzo for a church in the Piedmont Turin, Sabauda Gallery142/104
Venus presenting arms to Aeneas 1639 105 x 142 cm Painted for Jacques Stella Rouen, musée des beaux-arts138/191
Jupiter suckled by the goat Amalthea or The Feeding of Jupiter164097 × 133 cmCollection of Frederick II of Prussia in 1786 Berlin, Gemäldegalerie145/162
The Continence of Scipio1640114 x 163 cmCollection of Robert Walpole, collection acquired by Catherine II of Russia in 1772 Moscow, Pushkin Museum146/181
Landscape with saint Matthew164099 x 135 cmSold 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, Gemäldegalerie147/87
Landscape with saint John on Patmos1640102 x 133 cmSold for 70 écus on 28 October 1640. Reappeared in 1930. Pendant to Landscape with saint Matthew. Chicago, Art Institute148/86
The Institution of the Eucharist or Jesus Christ instituting the Eucharist1641325 x 250 cmCommissioned in December 1640 for Louis XIII of France for the chapel of the château de Saint-Germain-en-Laye Paris, musée du Louvre149/78
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 Louvre152/122
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 Louvre151/101
Holy Family1641–164271 x 55,5 cmPainted for the Order of Malta's ambassador to Rome. Acquired by the Institute in 1954. Detroit, Institute of Arts153/46
Saint Paul's ascension to heaven164341,5 x 30 cmPainted for Paul Fréart de ChantelouSarasota, Florida, John and Mable Ringling Museum of Art154/
‘‘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 Sutherland160/113
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 Sutherland161/112
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 Sutherland162/115
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 Sutherland163/117
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 Sutherland164/114
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 Sutherland165/118
The infant Moses trampling pharaoh's crown1645101 x 144 cmD'Orléans collection, sold in England in 1798 Woburn Abbey (Bedfordshire), collection of the duke of Bedford156/16
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 Atheneum157/79
Moses changing Aaron's rod into a snake1645–1648 c.92 x 128 cmPendant to The infant Moses trampling pharoah's crown. Painted for Camillo Massimi Paris, musée du Louvre167/19
The infant Moses trampling pharoah's crown1645–1648 c.92 x 128 cmPendant to Moses changing Aaron's rod into a snake. Painted for Camillo Massimi Paris, musée du Louvre166/15
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 n 1665 Paris, musée du Louvre169/13
Saint John baptising Christ164830 x 23Painted for Paul Fréart de Chantelou following a commission granted in 1645. Painted on cupressus panelNew York, collection Wildenstein170/71
Holy Family or Madonna on the stairs1648118 x 197 cmThe 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 LouvreCleveland, Museum of Art, Paris, musée du Louvre172/53
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 1665Paris, musée du Louvre173/8
Landscape with the funeral of Phocion1648117,5 x 178 cmPossibly painted for the Lyon businessman Jacques Sérisier. Pendant to Landscape with the ashes of Phocion Cardiff, National Museum of Wales176/173
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 Gallery177/174
Landscape with a Man Killed by a Snake or The effects of terror1648119 x 198,5 cmCopie ancienne au musée MagninLondon, National Gallery178/209
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 Louvre179/170
Landscape with Diogenes or Diogenes throwing away his bowl1648160 x 221 cmCollection of the duc de Richelieu, acquired by Louis XIV in 1665 Paris, musée du Louvre180/150
Landscape with Polyphemus1649150 x 198 cmAcquired by Catherine II of Russia in 1772 on the advice of Denis Diderot Saint-Pétersbourg, musée de l'Ermitage182/175
The Judgement of Solomon 1649 101 x 150 cm Entered the French royal collection in 1685 Paris, musée du Louvre183/35
The striking of the rock or Moses Striking Water from the Rock1649150 × 196 cmPainted 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, Gemäldegalerie186/1
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 Louvre190/2
Assumption of the Virgin1649–165057 x 40 cmJoined the French royal collection in 1685 Paris, musée du Louvre188/93
Saint Paul's ascension into heaven1649–1650148 x 120 cmPainted for Paul Scarron, passed to the collection of Armand Jean de Vignerot du Plessis then the French royal collection in 1665 Paris, musée du Louvre189/89
Landscape with three monks or A Solitude or Landscape with saint Francis1648–1650117 x 193 cmCollection 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 feet1650114 x 175 cmPainted for Michel Passart. Acquired by the Gallery in 1944. Early copy at the musée Condé de ChantillyOttawa, National Gallery of Canada192/212
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 Louvre193/74
Holy Family1650–c. 1651 97,8 × 129,5 cmAcquired in 1942. Cambridge (Massachusetts), Fogg Art Museum195/54
The Holy Family with Saint John and Saint Elisabeth in a landscapec. 1650 94 x 122 cmPainted for the wife of Nicolas Fouquet and joined the French royal collection in 1685 Paris, musée du Louvre196/55
Moses saved from the river1651116 x 177,5 cmPainted for Reynon. Acquired jointly with the National Gallery, LondonCardiff, National Museum of Wales / London, The National Gallery197/14
Holy Family165196,5 x 133 cmPainted for Charles III de Créquy. On show at Chatsworth House until 1981Pasadena (California), Norton Simon Museum198/58
Stormy Landscape with Pyramus and Thisbe 1651 192 x 273 cm Painted for Cassiano dal Pozzo. Acquired by the Museum in 1931. Frankfurt, Städel Museum202/177
Landscape in calm weather or Calm time165199 x 132 cmPendant to The Storm at Rouen. Rediscovered in 1977. Held until 1997 at Sudeley Castle in Winchcombe (Gloucestershire)Los Angeles, Getty Center201/
The Stormc. 01651 99 x 132 cmPendant to the Getty's Landscape in calm weather du Getty. Reappeared on the art market in 1950. Rouen, musée des beaux-arts200/
Ideal landscape or Landscape with buildings or Landscape with three men1651–1653120 × 187 cmMentioned 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 Lycomedes1651–c. 1653 97,5 x 131,1 cm Boston, Museum of Fine Arts204/
Coriolanus1652–c. 1653 112 x 198,5 cmSeized from the émigré (Simon-Charles Boutin) on the French Revolution and sent to Les Andelys in 1802Les Andelys, Musée Nicolas Poussin203/147
The Will of Eudamidasc. 1653 110,5 x 138,5 cmPainted for Michel Passart Copenhague, Statens Museum for Kunst206/152
Christ and the woman taken in adulteryc. 1653 121 x 195 cmPainted for André Le Nôtre and given to Louis XIV in 1693 Paris, musée du Louvre207/
Noli Me Tangere165347 x 39 cmInventory of the la Granja palace in 1746. Its lost pendant was a Lamentation over the dead ChristMadrid, 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)[18]209/R19
Annunciation c. 1653 45 x 38 cm Oil on wood. Pendant to the Munich Nativity. Attribution to Poussin opposed by BluntOberschleissheim, now schloss Schleissheim (Bavaria State paintings collection)[19]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 Museum211/
The Death of Saphire (or Saphira)1654–1656122 × 199 cmAcquired in 1685 by Louis XIV Paris, musée du Louvre210/85
Esther before Ahasuerus1655119 x 155 cmPainted 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 Museum212/36
Holy Family1655172 x 133,5 cm Walpole's collection before 1739. Acquired in 1779 by Catherine II of RussiaSaint-Petersburg, Hermitage Museum213/
Sainte Famille1655198 x 128 cmPossibly commissioned by the duc de Créqui. Formerly in the collection of the earls of Yarborough Sarasota (Floride), John and Mable Ringling Museum of Art214/51
Saints Peter and John healing the lame man1655126 x 165 cmPainted for a treasurer in Lyon, Mercier. Collection of the prince of Liechtenstein from 1924. New York, Metropolitan Museum of Art216/84
Holy Family with saints John, Elisabeth and Joseph praying165568 x 51 cmAcquired in 1685 by Louis XIV Paris, musée du Louvre217/57
Adoration of the Shepherds1655 c.96 x 134 cmCollection of the Electors Palatine at Mannheim, inherited by the electors of Bavaria in 1777Oberschleissheim, now the Schloss Schleissheim (Bavaria State paintings collection)[20]221/41
Saint John baptising Christ1655–165792 x 129 cmReappeared in 1911 Philadelphia, Museum of Art220/
The Rest on the Flight into Egypt1655–1657105 × 145 cmPainted for madame de Montmort, wife of Fréart de Chantelou Saint Petersburg, Hermitage219/
Achills on Skyros1656100,33 x 133,35 cmPainted for the duc de Créqui. Attribution supported by Blunt but rejected by Thuillier Richmond (Virginia), Virginia Museum of Fine Arts218/127
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 Museum226/
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 Gallery228/
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[21] Paris, musée du Louvre223/
The Flight into Egypt or resting on the journey1657–1658146 x 216 cmReappeared in 1986, classified a 'trésor national'. Acquired in 2007, property of the musée du Louvre deposited at Lyon Lyon, musée des beaux-arts230/61
Lamentation over the dead Christ1657–1658 c.94 x 130 cmAcquired in 1882 by the duke of HamiltonDublin, National Gallery of Ireland229/83
Queen Zenobia found on the banks of the river Arax1657–1660156 x 194,5 cm Rospigliosi collection in 1713. Saint-Petersburg, Hermitage Museum233/
Landscape with the lame Orion searching for the sun or Landscape with Diana and Orion 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 Art227/169
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 Condé231/208
Landscape with Hercules and Cacus1659–1661 c.156,5 x 202 cm Acquired by Catherine II of Russia in 1772 from Hubert de Brienne de ConflansMoscow, Pushkin Museum240/158
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 Louvre234/3
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 Louvre235/4
The Four Seasons : Autumn or The grapes of the promised land or The Grapes of Canaan 1660–1664116 x 160 cmSeries painted for Armand Jean de Vignerot du Plessis and passed into the French royal collection in 1665 Paris, musée du Louvre236/5
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 Louvre237/6
Eleazar and Rebecca1660–1665 c.96,5 x 138 cmDiscovered by Anthony Blunt in 1933 and bought by the Museum on his deathCambridge, Fitzwilliam Museum239/9
Landscape with Hagar and the Angel1660–1665 c.100 x 75 cm Discovered in 1960 by André ChastelRome, Galleria Nazionale d'Arte Antica, palazzo Barberini241/
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 Louvre242/131

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