Editing Nicolas Poussin (section)

==Legacy==
In the years following Poussin's death, his style had a strong influence on French art, thanks in particular to [[Charles Le Brun]], who had studied briefly with Poussin in Rome, and who, like Poussin, became a court painter for the King and later the head of the [[French Academy in Rome]]. Poussin's work had an important influence on the 17th-century paintings of [[Jacques Stella]] and [[Sébastien Bourdon]], the Italian painter [[Pier Francesco Mola]], and the Dutch painter [[Gerard de Lairesse]].{{sfn|Wright|1985|p=11}}
A debate emerged in the art world between the advocates of Poussin's style, who said the drawing was the most important element of a painting, and the advocates of Rubens, who placed color above the drawing.<ref name=Janson>[[H. W. Janson|Janson, H.W.]] (1995) ''History of Art''. 5th edn. Revised and expanded by Anthony F. Janson. London: [[Thames & Hudson]], p. 604. {{ISBN|0500237018}}</ref> During the [[French Revolution]], Poussin's style was championed by [[Jacques-Louis David]] in part because the leaders of the Revolution looked to replace the frivolity of French court art with Republican severity and civic-mindedness. The influence of Poussin was evident in paintings such as ''[[The Lictors Bring to Brutus the Bodies of His Sons|Brutus]]'' and ''[[Death of Marat]]''. [[Benjamin West]], an American painter of the 18th century who worked in Britain, found inspiration for his canvas of ''[[The Death of General Wolfe]]'' in Poussin's ''The Death of Germanicus''.{{sfn|Facos|2011|pp=32, 53}}

The 19th century brought a resurgence of enthusiasm for Poussin. French writers were seeking to create a national art movement and Poussin became one of their heroes: the founding father of the French School; he appears in plays, stories and novels as well as [[Physiognomy|physiognomic]] studies.<ref name=":0" /> He also became the model for the myth of the child genius, who becomes the miserable artist rejected by society, as can be seen in [[François Marius Granet]]'s painting of the death of Poussin.<ref name=":0" /> One of his greatest admirers was [[Ingres]], who studied in Rome and became Director of the French Academy there. Ingres wrote, "Only great painters of history can paint a beautiful landscape. He (Poussin) was the first, and only, to capture the nature of Italy. By the character and taste of his compositions, he proved that such nature belonged to him; so much so that when facing a beautiful site, one says, and says correctly, that it is "Poussinesque".{{Sfn|Rosenberg|Temperini|1994|page=149}} Another 19th-century admirer of Poussin was Ingres' great rival, [[Eugène Delacroix]]; he wrote in 1853: "The life of Poussin is reflected in his works; it is in perfect harmony with the beauty and nobility of his inventions...Poussin was one of the greatest innovators found in the history of painting. He arrived in the middle of the school of mannerism, where the craft was preferred to the intellectual role of art. He broke with all of that falseness".{{Sfn|Rosenberg|Temperini|1994|pages=147–148}}

[[Paul Cézanne]] appreciated Poussin's version of classicism. "Imagine how Poussin entirely redid nature, that is the classicism that I mean. What I don't accept is the classicism that limits you. I want that a visit to a master will help me find myself. Every time I leave a Poussin, I know better who I am."{{Sfn|Rosenberg|Temperini|1994|pages=147–148}} Cézanne was described in 1907 by [[Maurice Denis]] as "the Poussin of Impressionism".{{sfn|Russell|1990}} [[Georges Seurat]] was another [[Post-Impressionism|Post-Impressionist]] artist who admired the formal qualities of Poussin's work.<ref>Clay, Jean. (1973). ''Impressionism''. Paris: Hachette Réalités. p. 273. {{ISBN|2010066235}}</ref>

In the 20th century, some art critics suggested that the analytic [[Cubist]] experiments of [[Pablo Picasso]] and [[Georges Braque]] were also founded upon Poussin's example.{{sfn|Wilkin|1995}} In 1963 Picasso based a series of paintings on Poussin's ''The Rape of the Sabine Women''. Following in Picasso's footsteps, [[Herman Braun-Vega]] produced a series of twenty paintings in 1974 on ''[[The Rape of the Sabine Women (Poussin)|The Rape of the Sabine Women]]'' in the Louvre, which he placed in perspective with the tragic events of his time.<ref>{{Cite journal |last=Jouffroy |first=Alain |date=December 1975 |title=Herman Braun-Vega : la critique peinte |trans-title=Herman Braun-Vega: the painted criticism |url=https://braunvega.com/picture?/910/category/59-xxe_siecle |journal=XXe siècle |language=fr |issue=45 |quote=La série de peintures [...] consacrée à l'Enlèvement des Sabines de Poussin, [...] où il introduit l'information actuelle [...] dans un espace illusionniste où les personnages de Poussin sont analysés, [...] et resitués, parfois, dans le contexte des rues du Paris actuel, développe une véritable critique peinte sur les rapports et les oppositions [...] entre l'espace pictural traditionnel et la réalité contemporaine.}}</ref> One of the paintings in this series, ''Poussin au quartier de porc'', is part of the collection of the [[Centre national des arts plastiques|Centre National des Arts Plastiques]].<ref>{{Cite web |last=Braun-Vega |first=Herman |title=Poussin au quartier de porc |url=https://www.cnap.fr/collection-en-ligne#/artwork/herman-braun-vega-german-braun-vega-dit-poussin-au-quartier-de-porc-140000000015810?layout=grid&page=1&filters=authors%3ABRAUN-VEGA%20Herman%20%28BRAUN-VEGA%20German,%20dit%29%E2%86%B9BRAUN-VEGA%20Herman%20%28BRAUN-VEGA%20German,%20dit%29 |access-date=2025-05-02 |website=www.cnap.fr}}</ref> [[André Derain]],<ref>Cowling, Elizabeth; Jennifer Mundy (1990). ''On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930''. London: Tate Gallery. pp. 93–93. {{ISBN| 1-854-37043-X}}.</ref> [[Jean Hélion]],<ref>Ottinger, Didier (2005). ''Jean Hélion''. London: Paul Holberton. pp. 20–21. {{ISBN|1-903470-27-7}}</ref> [[Balthus]],<ref>Rewald, Sabine (1984). ''Balthus''. New York: Harry N. Abrams. p. 82. {{ISBN|0870993666}}.</ref> and [[Jean Hugo]] were other modern artists who acknowledged the influence of Poussin. [[Markus Lüpertz]] made a series of paintings in 1989–90 based on Poussin's works.{{sfn|Keazor|2007|p=8}}

The finest collection of Poussin's paintings today is at the [[Louvre]] in Paris. Other significant collections are in the [[National Gallery]] in London; the [[National Gallery of Scotland]]; the [[Dulwich Picture Gallery]]; the [[Château de Chantilly|Musée Condé, Chantilly]]; the [[Hermitage Museum]], Saint Petersburg; and the [[Museo del Prado]], Madrid.