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The Ecstasy of St. Paul - Nicolas Poussin (French)

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The Ecstasy of St. Paul - Nicolas Poussin (French)

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Date: 1649-1650
Dimension: 148 x 120 cm
Medium: oil on canvas
Location: The Louvre

This work depicts St. Paul being escorted to heaven by the angels. This religious work is very posed and idealized, relying heavily on its technique and vibrancy to engage the viewer. The colors of the garments are rich and spectacular, drawing the eye to the quality and skill of painting. The landscape is not very detailed but is still classical, very much like the previous work of Carracci. Poussin paid attention to details and produced works that showed control, order, morality, and logic (Kerspern 2003).

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The Baptism of Christ- Nicolas Poussin (French)

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The Baptism of Christ- Nicolas Poussin (French)

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Date: 1641-1642
Dimensions: overall 95.5 x 121 cm (37 5/8 x 47 5/8 in.)

framed: 123.8 x 149.9 x 14 cm (48 3/4 x 59 x 5 1/2 in.)

Medium: oil on canvas
Location: National Gallery of Art, Washington DC
Accession Number:
1946.7.14

This work depicts Jesus during a scene in the New Testament receiving the sacrament of Baptism from his cousin, St. John the Baptist. The work includes an idealized classical landscape similar to the works of Carracci, who Poussin was influenced greatly by. All of the figures are also depicted on a level horizontal plane, which was typical of Poussin and his other Classical Baroque works. Finally, the use of blues and reds in the clothing of the figures (Venetian style) intentionally moves the eye around the painting and invites us in to view closer (Kerspern 2003).

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Assumption of the Virgin - Annibale Carracci (Italian)

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Assumption of the Virgin - Annibale Carracci (Italian)

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Date: 1600-1601
Dimensions: 245 cm × 155 cm
Medium: Oil on wood
Location: Santa Maria del Popolo, Rome

This work depicts Mary ascending to heaven. This image is very idealized and intentional, much like classical Baroque painting usually is. The focus is entirely on Mary as she is assisted by cherubs to Heaven. The composition uses horizontal planes to put all of her spectators on a level field and have them all appear to be looking up at her while she rises. Everyone in the painting is idealized and gracefully depicted, almost like a dance (Pace 2003).

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Christ Appearing to St. Peter on the Appian Way - Annibale Carracci (Italian)

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Christ Appearing to St. Peter on the Appian Way - Annibale Carracci (Italian)

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Date: 1602
Dimensions: 77 cm × 56 cm
Medium: oil on panel
Location: National Gallery, London

This work depicts Jesus appearing as a vision to St. Peter to help him with his doubts and uncertainty in following God's plan. Carracci's figures in this work are very idealized and almost sculptural. The classical landscape in the background is typical of his style, as well as the religious subject matter (National Gallery, London).

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Date: 1507
Dimensions: 179 x 174 cm
Medium: oil on canvas
Location: Borghese Gallery, Rome

This painting depicts Jesus being brought down from the cross after his crucifixion. Though it is a painting of suffering and misery, everyone in the scene is depicted as graceful and idealized. Their expressions are calm and somber, but not in agony, because Raphael wants to give a classical portrayal of the scene (Borghese Gallery). He wants the appeal more to the head than the heart. He also incorporated a calm and classical landscape which may have inspired Carracci's love of romanticized landscapes.

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Christ and the Woman Taken in Adultery - Nicolas Colombel (French)

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Christ and the Woman Taken in Adultery - Nicolas Colombel (French)

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Date: 1644
Dimensions: not found
Medium: oil on canvas
Collection: Musée des Beaux-Arts de Rouen

This work is the third of four works in Colombel's collection of Jesus's works within the New Testament. Once again, he incorporates what he has learned from previous painters and has his idealized figures depicted on the same horizontal plane. The scene has action occurring, but not in that dynamic way that Caravaggio does. Instead, there is patience and control to his composition, much like the style of Poussin (Merot 2003).

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Nicolas Colombel is the primary artist in my exhibition and I will incorporate the artworks of Raphael, Carracci, and finally Poussin to supplement my argument that each artist drew heavy influence from their predecessor. The themes of this exhibit are classical elements and the incorporation of disegno, or preliminary drawing to prepare for painting (Pace 2003), as well as religious imagery. There is also a theme of blue and red color schemes in many of their works, which is a Venetian technique which serves as a way to capture the eye and draw our attention to the details in the scene. Raphael was a High Renaissance artist known for his attention to detail and balance within a composition (Graham 2020). Carracci was one of the founders of the Baroque style and was known for his large production of religious works and frescos. Poussin really focused on horizontals and balanced relief spacing, as well as calm lighting and primary color schemes within his scenes (Brigstocke 2003). He also had a unity with nature and a calm rationality that later influenced Neoclassicism.

Colombel drew heavy influence from all of the artists previously discussed, and this is evident in his use of horizontal space, vibrant Venetian colors, and controlled, elegant, and idealized figure drawing. This exhibit was created to showcase the religious series of Nicolas Colombel and to investigate the influences of past artists that helped to shape Colombel's painting style. By also showcasing works from Raphael, Caracci, and Poussin, viewers can directly compare and contrast the works of art and see where the similarities in subject matter, theme, color, and technique lie. All of the works in the exhibit contain subject matter from the New Testament of the Bible in which Jesus or close people in Jesus's circle are considered.

In his works, Colombel draws heavy influence from Poussin in regards to his figure drawing and painting and the compositions of his artwork. Like Poussin and Carracci and Raphael before him, Colombel creates his works on a horizontal plane, with idealized figures and vibrant, dramatically colored robes with textures and movement incorporated within. His works are snapshot images with activity occurring, however everyone is depicted gracefully and pleasantly. Like Poussin, the figures are isolated from the scene and not integrated into their backgrounds. Poussin had a classical , moral, and logical approach to art, and through Colombel's works we see many similarities of thought. Poussin was inspired by Carracci's classical style. Carracci, however, created pastoral classical landscape scenes. His art depicted a sense of God's presence in the natural world and showed the country in a romanticized tone. He also painted using a gradual progression of space from background to foreground (Poole-Jones, 2021).

I have chosen to display my exhibit with the main wall holding three of the four works in Colombel's series of Jesus's works, followed by the next wall displaying Raphael's works, since he was the first of these chosen artists to produce works during his era in the High Renaissance. The next wall will show Carracci's works and his influence from Raphael incorporated into the founding of the Baroque style. The final wall will include Poussin's works, since he was the artist closest to Colombel's  era of painting and he was the artist that he drew the most inspiration from and studied the most.

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Marriage of the Virgin - Raphael (Italian)

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Marriage of the Virgin - Raphael (Italian)

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Date: 1504
Dimensions: 69" x 48"
Medium: oil on canvas
Location: Pinacoteca di Brera, Milan

The color scheme and idealism of the subjects are very similar to Poussin's style of painting. The figures are all on the same horizontal plane and the eye is drawn to the center of the painting where Mary is presented with her ring. The use of blues and reds throughout the painting is to attract the eye to different areas of the painting. Every figure is idealized and portrayed in a graceful bliss. This type of work has influenced the work of Poussin, Carracci, and Colombel (Graham 2020).

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Christ and the Woman Taken in Adultery - Nicolas Poussin (French)

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Christ and the Woman Taken in Adultery - Nicolas Poussin (French)

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Date: 1653
Dimensions: 2,048 × 1,242 in
Medium: oil on panel
Location: The Louvre

This painting features horizontal planes and some historically significant buildings in the back. Carracci was known for his gradual progression of space from background to foreground. This work is also a biblical scene from the New Testament depicting Jesus showing compassion to a woman who has been accused of adultery. Every figure included in the work is idealized and gracefully depicted. The colors of their robes are vibrant and eye catching much like colors of Venetian styled paintings. Everyone is also on a level horizontal plane, drawing the eye of the viewer across the painting (Kerspern 2003).

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Christ Healing the Blind - Nicolas Colombel (French)

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Christ Healing the Blind - Nicolas Colombel (French)

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Date: 1682
Dimensions: 47 x 34 3/4 in. (119.4 x 88.3 cm)
Framed: 59 1/2 x 47 1/2 x 5 1/2 in. (151.1 x 120.7 x 14 cm)
Medium: oil on canvas
Location: St. Louis Art Museum
Object number: 12:1957

In this work, like his previous one, Colombel uses tenebrism to highlight a dramatic action occurring. He also uses primary colors, often for emphasis in Venetian paintings, and horizontal planes similar to Poussin, as well as a romanticized landscape similar to that of Carracci (St. Louis Art Museum).

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Christ Expelling the Money-Changers from the Temple - Nicolas Colombel (French)

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Christ Expelling the Money-Changers from the Temple - Nicolas Colombel (French)

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Date: 1682
Dimensions: 47 x 34 1/4 inch. Framed 59 11/16 x 47 3/8 x 5 1/2
Medium: oil on canvas
Location: St. Louis Art Museum
Object number: 11:1957

This painting depicts a New Testament scene in which Jesus finds merchants or money changers in a place of prayer and demands that they leave respectfully and take their business elsewhere. This work, made in Lazio, Rome, Italy, is an idealized and religiously themed painting that encompasses the Baroque Classicism. The dynamic movement captured as well as the vibrant color scheme and tenebrism employed all show his influence from Raphael, Carracci, and Poussin (St. Louis Art Museum).