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35
impressive way. Then the artist must devise the composition which must not be so carefully
constructed that it looks laboured, but should flow naturally. Last comes the style or manner of
painting or drawing.
At another point Poussin explained his theory of the modes of painting by analogy with the
modes or scales in Greek music, and mentioned five, the Dorian, the Phrygian, the Lydian, the
Hypolydian and the Ionic. He carried his ideas of the modes systematically into execution. His Rape
of the Sabines, of about 1636-37, exemplifies the Phrygian mode adapted to 'frightful wars'. The
picture fulfils all Poussin's requirements for the grand manner. The subject is lofty; the conception
is powerful; the composition effortless and natural for all its references to ancient and Renaissance
statuary figures and groups; and the style beyond all praise. The composition is staged in a limited
space, flanked on one side by the temple portico in which Romulus stands and limited at the rear by
a basilica.
A later work, the Holy Family on the Steps, of 1648, is probably in the Hypolydian mode,
which 'contains within itself a certain sweetness which fills the soul of the beholders with joy. It
lends itself to divine matters, glory and Paradise'. The pyramidal composition suggests the
Madonna groups of Leonardo and Raphael which Poussin knew and studied. Like Tintoretto, he ar-
ranged little draped wax figures on a stage with the lightning carefully controlled and with a
backdrop of landscape and architecture. He would experiment with figural relationships till he
found the right grouping, then build a larger arrangement of modelled and draped figures and paint
from it, referring to reality only when necessary. The grave, ideal quality of Poussin's art triumphs
in Classical compositions arranged before simple, cubic architecture that bypasses the Baroque, the
Renaissance, and the Middle Ages, going straight back to Roman models. While the faces of his
figures often appear standardized and almost expressionless, the grandeur of Poussin's art appears in
the balance of forms, colour, and lights. Such compositions inspired Ingres in the early 19-th
century, formed the basis for the still life and figure paintings of Cezanne in the late 19-th and early
20-th centuries.
Make sure you know how to pronounce the following words:
Poussin [
]; Normandy [
]; lyre [
]; Paris [
]; Louvre
[
]; Greek [
]; Dorian [
]; Phrygian [
]; Lydian [
];
Hypolydian [
]; Ionic [
]; Sabines [
]; Cezanne [
]
NOTES
Inspiration of the Poet- "Вдохновение поэта"
Rape of the Sabines - "Похищение Сабинянок"
Holy Family on the Steps - "Святое семейство на ступенях храма"
TASKS
I. Read the text. Make sure you understand it. Mark the following statements true or false.
1. Nicolas Poussin embodies the Renaissance spirit.
2. Poussin made a lot of altarpieces.
3. Poussin was fond of ceiling painting.
4. Poussin invented five modes or scales in music.
5. Poussin formulated the theoretical basis of his art in 1648.
6. Poussin worked in the grand manner early in life.
II. How well have you read? Can you answer the following questions?
1. What do Poussin's paintings reflect?
2. What did Poussin attempt to recapture in the Inspiration of the Poett?
3. What were the main theoretical principles of Poussin's art? How did Poussin connect
painting and music?
4. With what Poussin's painting is the Phrygian mode associated? Why? What is the subject of
this painting?
5. Why is the Holy Family on the Steps associated with the Hypolydian mode? Whose
influence can be traced in this painting?