Before analysing Poussin’s two versions of the Eucharist we have to understand at what stage in his artistic career he was in, and the context of sacramental paintings in the 17th century. We need to understand Poussin’s passion in antiquity and views on religion within his stoic philosophical mindset. Thus we can begin to examine his relationship with his two patrons, Cassiano dal Pozzo and Paul Fréart de Chantelou and discuss how the two versions of the Sacrament of the Eucharist reflect the differing identities of their commissioners – one the intellectual Italian, interested in a fusion of antique and Christian themes, the other the wealthy French bourgeois, less pious and more private.
Before analysing Poussin’s two versions of the Eucharist we have to understand at what stage in his artistic career he was in, and the context of sacramental paintings in the 17th century. We need to understand Poussin’s passion in antiquity and views on religion within his stoic philosophical mindset. Thus we can begin to examine his relationship with his two patrons, Cassiano dal Pozzo and Paul Fréart de Chantelou and discuss how the two versions of the Sacrament of the Eucharist reflect the differing identities of their commissioners – one the intellectual Italian, interested in a fusion of antique and Christian themes, the other the wealthy French bourgeois, less pious and more private.
Before analysing Poussin’s two versions of the Eucharist we have to understand at what stage in his artistic career he was in, and the context of sacramental paintings in the 17th century. We need to understand Poussin’s passion in antiquity and views on religion within his stoic philosophical mindset. Thus we can begin to examine his relationship with his two patrons, Cassiano dal Pozzo and Paul Fréart de Chantelou and discuss how the two versions of the Sacrament of the Eucharist reflect the differing identities of their commissioners – one the intellectual Italian, interested in a fusion of antique and Christian themes, the other the wealthy French bourgeois, less pious and more private.
Eucharist in his series of the Seven Sacraments in terms of the differing identities of their patrons. Before analysing Poussins two versions of the Eucharist we have to understand at what stage in his artistic career he was in, and the context of sacramental paintings in the 17 th century. We need to understand Poussins passion in antiquity and views on religion within his stoic philosophical mindset. Thus we can begin to examine his relationship with his two patrons, Cassiano dal Pozzo and Paul Frart de Chantelou and discuss how the two versions of the Sacrament of the Eucharist reflect the differing identities of their commissioners one the intellectual Italian, interested in a fusion of antique and Christian themes, the other the wealthy French bourgeois, less pious and more private. The idea of a series of paintings was common enough in the 17 th century, but the sacraments themselves had up until then always been painted together as scenes of contemporary life. 1 During the 16 th century Reformation the church was made defend the validity of its Sacraments, deemphasising the significance of the Last Supper in the sacrament of Eucharist, and focusing instead on the consecration of the bread of giving communion to the Apostles, as seen in Poussins Eucharist (1640; Musee du Louvre, Paris). Thus, Poussins idea of a series of seven separate paintings of the Sacraments was part of his virtue of inventio, the ability to express a story in an imaginative and original way. 2 In both sets he has gone against the norm and chosen to depict the Eucharist in its narrative and historical context, concentrating not on saints and martyrs, but on the central narrative themes of the New Testament 3 . Thus, we see the apostles lying at the table all antica. 4
The focus is more on the dramatic sacramental climax of the last supper, with his gestures declaring the bread and wine becoming his flesh and blood. 5
Poussins passion in antiquity is revealed in differing ways for each of his Eucharists. By using primary evidence through the inclusion of classical architectural features, such as the formal Roman dining Triclinium, as well as clothing in a Roman style, Poussin quotes antique images. 6 However, he also deals with the underlying philosophical conceptions of the Biblical narrative, emphasising the moments when Christ blesses the cup, when the disciples break the bread, when Judas leaves the
1 Thompson, C. (1980) Poussins Seven Sacraments in Edinburgh. University of Glasgow Press: p. 7 2 Ibid, p. 7
3 Blunt, A. (1995) Nicolas Poussin. Pallas Athene Publishing: p. 179 4 Friedlaender, W. (1966) Poussin: a New Approach. Thames and Hudson: p. 156 5 Ibid, p. 7
6 Blunt, A. (1995): p. 189
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room ashamed of his future betrayal, and in Chantelous version references to Christs washing of the apostles feet, all convey the personal systems the artist was dealing with through his patrons. 7
Poussins paintings were also inspired largely by the stoical philosophers, such as Torquato Tasso, whose ideas of the mind creating fantastic new ideas based upon intellect, memory, and experience 8
heavily inspired Poussins passionate belief in reason as the source of all beauty and truth. 9 This admiration for intellectual rigour and enquiry led to Poussin founding the classical tradition in French Art. 10 However, despite Poussins moral stoicism, the solemnity and grandeur of his religious paintings for Chantelou and dal Pozzo show his sincerity of his religious beliefs. 11
Thus, we can examine Cassiano dal Pozzos Eucharist, of the set of Seven Sacraments painted between 1636-1642 in terms of its religious Christian narrative themes through his relationship with the religious circles based around Cardinal Francesco Barberini, and its antiquarian themes through the his interest in the antiques and the work of the Carracci school. Dal Pozzos patronage of Poussin at the time he commissioned the Seven Sacraments has already existed for over a decade since Poussins arrival in Rome in 1624. 12 The severe and stoic manner of Poussin in his maturity suited him to the intellectual circle of dal Pozzo 13 , whose scientific and philosophical interests were finely tuned to the intellectual, ethical, and political debates of seicento Rome 14 and based on the teachings of the Carracci schools reforming of the Mannerist style, setting up the following Baroque period. 15 Cropper argues that Poussin was working with dal Pozzo in the central intellectual problem of the 17 th c reconciling the authority of the Christian church and the traditions of the classical period, with new discoveries and creative ideas in the sciences, theology, and the arts. 16
7 Carrier, D. (1993) Poussins Paintings: a study in art-historical methodology. Pennsylvania State University Press: p. 61 8 Callen-Bell, J. (2002) Art history in the age of Bellori: scholarship and cultural politics in seventeenth- century Rome. Cambridge University Press: p. 42 9 Blunt, A. (1995): p. 219
10 Clarke, M. (2011) Poussin to Seurat: French Drawings from the National Gallery of Scotland. National Galleries of Scotland: p. 108
11 Blunt, A. (1995): p. 177
12 Wright, C. (1984) Poussin Paintings: A Catalogue Raisonn. Alpine Fine Arts: p. 68 13 Kauffman, G., Friedlaender, W., and Sauerlnder (eds.) (1965) Walter Friedlaender zum 90. Geburtstag: eine Festgabe seiner europischen Schler, Freunde und Verehrer. De Gruyter: p. 59 14 Olson, T.P. (2002) Poussin and France: Painting, Humanism, and the Politics of Style. Yale University Press: p. 15 15 Callen-Bell (2002): p. 43 16 Ibid, p. 43 3
To show the Eucharist in its historic origin provided a vehicle for the representation of the ancient world, an enthusiasm that Poussin shared with dal Pozzo. 17 Dal Pozzos master, Cardinal Francesco Barberini, was the titular abbot of the Abbey of Santa Maria di Grottaferrata, a place of great interest in the classical world with its terrifically important library of Greek Manuscripts and alumni of Humanists, such as Ambrogio Traversari. 18 This was combined with dal Pozzos own personal interest and knowledge of classical mythology and history, with his collections of classical antiques. 19
We can see aspects of the picture are treated as a stage, with what appears to the viewer to be the removal of the fourth wall as the sparse floor at the bottom edge of the painting seems like a theatre set. 20 We can see the influences of the Carracci school in Poussins use of chiaroscuro, symmetry and use of colour and line, which seem to be an amalgamation of Raphael, Correggio, and Michelangelo, which can be partly attributed to his use of wax models arranged on a theatrical stage in order to see the natural effects of light and shade, revealing how these affect the activity of the narrative. 21
We can see the evidence of the emphasis Poussin put in dal Pozzos Eucharist on the emotions of the Christian narrative of the work, which fitted into the religious temper of his circle around Cardinal Barberini. The sacraments were an essential part of the writings of the early Christian apologists trying to remove themselves from the ecstatic Catholicism expressed in Roman Baroque art 22 , with whom Cardinal Barberini was in sympathy. 23 The interior height imposes a sense of the ritual and solemnity of the Church. 24 The pictures exhibition, intended to hang together either in a long sequence in a narrow hallway or confined in a relatively small room 25 , would have added to this cloistering effect. We can likewise examine Poussins second set of sacraments for the Parisian Paul Frart de Chantelou, painted in Rome between 1644-48, in terms of Poussins personal friendship and the wider context of the 17 th rise of French Humanitarianism. Hearing so much about dal Pozzos series of Sacraments, Chantelou wanted copies of them, and after initially meeting with some difficulties and delays Poussin agreed to paint him a completely new version. 26 Chantelou and the rest of Poussins French supporters belonged to the bourgeois, a wealthy class with clearly defined ideals (Carrier, 1993, 81). 27
Although clearly not as intellectual as dal Pozzo, Poussin still held deep affection for Chantelou, and in their long series of letters the two companions wrote often about the progress of the Sacraments. These were shipped across the Alps one by one as they were finished to Chantelous collection in his house near the Louvre in Paris, where a separate room was set aside for them. 28 Chantelou is
17 Thompson (1980): p. 7 18 Kauffman, et al (1965): p. 61 19 Blunt, A. (1995): p. 207 20 Thompson (1980): p. 12 21 Callen-Bell (2002): p. 220 22 Blunt, A. (1995): p. 187 23 Heering, J.P. (2004) Hugo Grotius as Apologist for the Christian Religion. Brill: p. 201 24 Thompson (1980): p. 24 25 Wright (1984): p. 68 26 Thompson (1980): p. 6 27 Carrier (1993): p. 81 28 Thompson (1980): p. 4 4
recorded to have covered the Sacraments with curtains, leaving only one visible at a time, under a mutual understanding with Poussin who agreed that seeing them all together would fill the mind too much all at once. 29 Thus, the whole concept of the paintings implied a certain kind of answering space in which it is hung, the confined and exclusive cabinet d'amateur, and a certain kind of person looking at it, the privileged guests of Chantelou, men of culture and learning it was in this nature that Poussin used his expressions, conveyed his ideas, and diminished the size of his figures. 30 This environment required a formula that would not distract people from the tranquillity of the setting. Poussin sought to create a distance between the figures of the Eucharist and the people who looked at them. Any face presented with too much realism would have been far too distracting, whereas enhancing the physical signs of emotional response was his goal. 31 Thus, Poussin took inspiration from theatre and the classical world, painting the figures faces as actors wearing antique masks with an emphasis of painting the rim of the lower eyelid a distinct reddish colour to represent the edge of the mask. 32 Further changes from the first series increase the solemnity of the experience: the architectural height of the Triclinium is much reduced in proportion to the figures, increasing the sense of gravity on observance 33 , enhanced by the deeper shadows and changing light makes the figures move closer into the light, enabling Poussin to give far more individual expression to each participant in the scene. 34 It was only by transforming his picture in this way that he prevented Chantelous version of the Eucharist from being perceived by his friend as merely a quotation of dal Pozzos. This second series has a solidly French temperament, an excess of Humanist logic, and almost doctrinaire consistency, sacrificing a sense of informality and lightness of touch which had been present in the first. 35 His piety was certainly less intense than dal Pozzos, as during Berninis visit to Paris Chantelou rarely accompanied him to the churches, and made unfriendly comments about the ostentatious wealth of the Church 36 , thus sharing the views of the humanist libertins on the religious orders. Poussins French audience were, unlike the intellectual debates of seicento Rome, more engaged in the formation of the early modern state. 37 This may be precisely why Chantelou chose Poussin to paint his series. By working from Rome after his failed return to Paris in 1640-2, the expatriate artist was free from these constraints of state ambitions and respond to the personal demands of his friend. 38 However, in this process of state formation in the 17 th century High Renaissance in France, the importance of mankind in general was stressed, not the emphasis of distinct personalities of separate individuals. 39 This is seen in the Eucharist, where Poussin explores the unity of the narrative scene, whilst pursuing his personal intention of exploring the idea of individual temperaments and responses of the apostles.
29 Ibid, p. 4 30 Ibid, p. 15 31 Ibid, p. 24 32 Ibid, p. 19 33 Ibid, p. 25 34 Carrier (1993): p. 219 35 Thompson (1980): p. 25 36 Blunt (1995): p. 216 37 Olson (2002): p. 15 38 Ibid, p. 72 39 Thompson (1980): p. 8 5
From studying the above, one can see how Poussin treated each of his versions of the Sacrament of the Eucharist differently to suit the tastes of the differing identities of his clients. For dal Pozzo, within his religious and intellectual circles, Poussins restrained touch and papal solemnity is seen, whereas for Chantelou Poussin felt free outside of the rigours of Humanist France to paint a heartfelt and tranquil piece, suiting the function of Chantelous collection room all the more.
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Bibliography Blunt, A. (1995) Nicolas Poussin. Pallas Athene Publishing Callen-Bell, J. (2002) Art history in the age of Bellori: scholarship and cultural politics in seventeenth- century Rome. Cambridge University Press Carrier, D. (1993) Poussins Paintings: a study in art-historical methodology. Pennsylvania State University Press Clarke, M. (2011) Poussin to Seurat: French Drawings from the National Gallery of Scotland. National Galleries of Scotland Clarke, M. (2000) A Companion Guide to the National Gallery of Scotland. National Galleries of Scotland Friedlaender, W. (1966) Poussin: a New Approach. London, Thames and Hudson Heering, J.P. (2004) Hugo Grotius as Apologist for the Christian Religion. Brill Kauffman, G., Friedlaender, W., and Sauerlnder (eds.) (1965) Walter Friedlaender zum 90. Geburtstag: eine Festgabe seiner europischen Schler, Freunde und Verehrer. Berlin, De Gruyter. Olson, T.P. (2002) Poussin and France: Painting, Humanism, and the Politics of Style. Yale University Press Thompson, C. (1980) Poussins Seven Sacraments in Edinburgh. University of Glasgow Press. Wohl, A.S. (2009) Giovan Pietro Bellori: The Lives of the Modern Painters, Sculptors and Architects. Cambridge University Press Wright, C. (1984) Poussin Paintings: A Catalogue Raisonn. Alpine Fine Arts, New York