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Jean Audran, after Nicolas Poussin, The Deluge (Winter), c. 1690, etching and engraving, 44.1 × 59 cm, Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall.
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In 1845 the 'Athenaeum 'bemoaned the loss to the nation of an ‘exquisite fragment’ by Filippino Lippi: the 'Angel Adoring 'once owned by the painter Augustus Wall Callcott and his wife Maria (1785–1842). This early painting, probably bought by Maria herself, epitomizes the revolutionary ideas set out in her publications on art. Initially known for...
Context in source publication
Context 1
... its more innovative aspects, such as the catalogue of Poussin's works, which included prints made after them. 11 Maria stressed that Poussin's cerebral paintings appealed to the understanding rather than to the eye, and so were especially 'favourable to engraving, as they depend[ed] more on composition than colour ' (p. 179 Deluge in the Louvre (Fig. 3), the most praised of all Poussin's works, for tackling an impossible subject. 'One critic has followed another, till it is become a kind of heresy to dispute its justice', but she insisted that 'the effect of the whole picture is unpleasant' (pp. 124, 125). 12 As late as 1900 her book was still the only biography to have been published ...
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Citations
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KEYWORDS
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