Poussin’s clients were cultivated men who shared his
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Handbags Replica “In a lush landscape, Venus, Roman goddess of love and beauty, is attended by her handmaidens, the Three Graces, while Mars, the god of war, stands enraptured by the sight. The figures are inspired by Nicolas Poussin’s Best replica handbags study of ancient classical sculpture. He derived his theme from classical literature, combining the Toilet of Venus, in which Venus makes her morning preparations while gazing into a mirror, with Mars “disarmed” or “unmanned” by Venus a symbol of love’s power to vanquish war. To illustrate this idea, Poussin shows Mars’s weapons and helmet cast aside, while he holds his shield to serve as Venus’s mirror. Its oval with her reflected image ingeniously links the two principles and marks the change in pictorial key from the quiet, coolly lit group of women composed in profile like relief sculpture to the warmer tones of Mars’s shadowed figure and the flickering movement and lighting of the two cupids. The landscape sustains this shift, the stately trees and constricted foreground opening out to a spacious vista toward snowcapped mountains. By the time he painted Mars and Venus, Poussin had lived some ten years in Rome since arriving there from France in 1624. Rome was to be his permanent home. Poussin’s clients were cultivated men who shared his intellectual interests and valued the harmony he achieved between poetic content and rigorous clarity in his paintings of mythological and religious subjects. Poussin absorbed ideas from many sources, including the monuments of antiquity and the work of Renaissance painters Raphael, Giulio Romano, and Titian. But from the force of Poussin’s artistic personality and his astonishing ability to invent solutions appropriate to each subject’s mood came an artistic language, both incisive and sensuous, that broke new ground.” Handbags Replica.