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lesecret

From clues to expertise : the Poussin track is confirmed


Scientific analyses
Comparing the painting with “the death of the Virgin” by Nicolas Poussin

  BrusselsArtLaboratory
     
 

"Nicolas Poussin was definitely in search for the perfect landscape; anything that could divert the attention from what is essential (water, mountains, hills, sky and especially the clouds), any anecdotal point was excluded."
                                                                              Pierre Rosenberg

 
 

Cliffs and buildings

 
  ruins ruins  
   

     Cliffs and ruins in “Autumn” Nicolas Poussin

 
  roman buildings assumption of the Virgin

          Roman buildings in the painting
          “The Assumption of the Virgin” Nicolas Poussin

 
       
 

Clouds

 
  clouds clouds  
   

                 “The Holy Family” Nicolas Poussin

 
  clouds clouds

      “Crossing of the Red Sea” Nicolas Poussin

 
       
 

Mountains typical of Poussin’s style

  Mountains   Mountains

“Summer”
Nicolas Poussin

Mountains

“The Empire of Flora”
Nicolas Poussin

    Mountains

“Acis and Galathea”
Nicolas Poussin

Mountains

“Apollon and Daphne”
Nicolas Poussin


 

Influences of Giulio Romano (Jules Romain) and Raphaël
in Nicolas Poussin’s painting

 
 

During his youth in Paris, Nicolas Poussin was said to have a privileged access to Giulio Romano and Raphael’s original drawings. Few French painters had the opportunity to study the masterpieces of High Renaissance Italian schools.
Charles Clément’s text published in 1850 in « La Revue des deux Mondes »
 

 
  Nicolas Poussin Giulio Romano Nicolas Poussin  
   

"Jonah being regurgitated by the whale" Giulio Romano (Jules Romain)

   

This drawing of Nicolas Poussin combines elements taken from two distinct engravings achieved by Giulio Romano (Jules Romain) and Polydore de Caravage (Musée du Louvre).

Raphael Raphael

Raphael
  Raphael

Nicolas Poussin

Detail of the painting 1

Heads of animals in the drapes of Raphael and Nicolas Poussin
as well as the gesture of the arms stretched out to the sky

  Nicolas Poussin

Detail of the painting 2 

Nicolas Poussin

“Venus presenting arms to Aeneas”
Nicolas Poussin

Raphael

"The creation of
  the animals”
Raphael

Raphael

“Saint George fighting the dragon”
Raphael

 
  Poussin

“Frescoes”
Nicolas Poussin

Poussin

“The Transfiguration”
Raphael

   

Paul Bril’s influence

In our paintings we find the same composition as achieved in the Jonah of Paul Bril who was a famous painter in Rome at the end of the 16th century and beginning of the 17th century. This painter has inspired Nicolas Poussin.

 

The dark zones are distributed along a diagonal line at the right side of the painting.

painting 2   Paul Bril

"Jonah’s shipwreck"
by Paul Bril
around 1600

 
 

The dark zones are distributed along a diagonal line at the left side of the painting.

painting 1   Paul Bril

"Jonah and the whale" by Paul Bril, oil on canvas 46 x 60,5 cm
Royal Museums of
Fine Arts of Belgium, Brussels

 

The following work exposed at the UK Royal Collection was first attributed to Nicolas Poussin but later
thought of as Gaspard Dughet’s, his brother in law and pupil. It shows a lot of similarities with our paintings.
Was Dughet, as Nicolas Poussin’s pupil, inspired by our paintings to achieve this work ?

  Dughet

“Jonah and the whale” by Gaspard Dughet long attributed to Nicolas Poussin

Poussin 1

Mrs Whitaker ‘s letter,
Royal Collection curator of paintings

"Dear Mrs Gasc,
Thank you for your e-mail and images. I am researching the French paintings in the Royal Collection. Your paintings are clearly very interesting, of high quality, and closely related to the Gaspard Dughet in the Royal Collection. None of us here are experts in the works of Poussin. You need to send your material to the experts at the Louvre, or the National Gallery. The curator there is Humphrey Wine. We would be interested to hear what the results are of your research.
With best wishes,
          Lucy Whitaker
"

 
  Poussin 2  

 

Clues and expertises have confirmed the Poussin track for these two paintings loaded with history and “treasures” of an enigma.
The pigments used in our works and those used by Nicolas Poussin in “The death of the Virgin” are identical. These scientific results have been brought to light by a Belgian expert, M. Laycock, who works with the most distinguished European authorities. This comparative authentication method is to be confirmed by probative elementary analyses, as it is difficult or even impossible to gain access to the analyses results of further authorities.
These scientific results are objective and irrefutable arguments that complement further elements already authenticated in the paintings. Nothing can now exclude to attribute these paintings to Nicolas Poussin: museums and experts shall now be requested to do so, as Mrs Whitaker, The Royal Collection curator,  recommends us to.