Product Description 
Richly illustrated and engagingly written, this publication examines how the pioneer of French classicism brought dance to bear on every aspect of his artistic production.\nScenes of tripping maenads and skipping maidens, Nicolas Poussin’s dancing pictures, painted in the 1620s and 1630s, helped him formulate a new style. This style would make him the model for three centuries of artists in the French classical tradition, from Jacques-Louis David and Edgar Degas to Paul Cézanne and Pablo Picasso.\nPoussin and the Dance, the first published study devoted to this theme, situates the artist in seventeenth-century Rome, a city rich with the ancient sculptures and Renaissance paintings that informed his dancing pictures. Tracing the motif of dance through his early Roman production, this book examines how these works helped their maker confront the problem of arresting motion, explore the expressive potential of the body, and devise new methods of composition. The essays investigate how dance informed nearly every aspect of Poussin’s artistic production, notably through his use of wax figurines to choreograph the compositions he drew and painted. This publication also considers Poussin’s dancing pictures within a broader context of seventeenth-century European culture, collecting, and patronage.\nThis volume is published to accompany an exhibition on view at the National Gallery, London from October 9, 2021, to January 2, 2022 and at the J. Paul Getty Museum at the Getty Center from February 15 to May 8, 2022. 
 Review 
“In Poussin’s “dancing pictures,” gesture, rhythm, and color combine in affective modes intended to evoke an emotional response. This response is, of course, linked to subject matter, which is often bacchanalian, but above all it elicits directly our sense of life’s transience and the tragic poetics of time and metamorphosis.” 
—Elizabeth Cropper, Dean Emerita, Center for Advanced Study in the Visual Arts, National Gallery of Art 
 About the Author 
Emily A. Beeny, former associate curator of drawings at the J. Paul Getty Museum, is curator in charge of European paintings at the Fine Arts Museums of San Francisco.\nFrancesca Whitlum-Cooper is the Myojin-Nadar Associate Curator of Paintings, 1600–1800, at the National Gallery, London. She edited 
Boilly: Scenes of Parisian Life (2019).

Poussin and the Dance

Arts & Photography

Beeny, Emily A.

Whitlum-Cooper, Francesca

History & Criticism

J.paul Getty Museum

In a long career that spanned the French Revolution, the rise and fall of Napoleon, and the Bourbon Restoration, Louis-Léopold Boilly (1761–1845) created innovative and daring paintings in the midst of the most turbulent times. Bringing together two dozen of Boilly’s works—the majority of which have never before been published—this handsome volume includes portraiture, scenes of seduction, and groundbreaking representations of raucous Parisian street life. A master technician with acute powers of observation and a wry sense of humor, Boilly invented the term trompe l’oeil and popularized the genre through his stunningly realistic compositions. In this first English-language publication on Boilly in more than 20 years, Francesca Whitlum-Cooper vividly brings the artist and the period he lived in to life, shedding new light on Boilly’s work and expanding our understanding of how art functioned within France’s rapidly changing political environment.

Boilly: Scenes of Parisian Life

National Gallery London

Discover Liotard and The Lavergne Family Breakfast

A focus on Caravaggio's last work, The Martyrdom of Saint Ursula, telling the story of an empowered female saint &nbsp; In early May 1610, Caravaggio finished painting The Martyrdom of Saint Ursula. Two months later, he was dead, having been disfigured in a brawl and become ill while trying to return from exile to Rome. &nbsp; Caravaggio is one of the most famous and instantly recognisable artists in the world. His paintings open a vivid and startlingly modern window onto the seventeenth century, while his&nbsp;own turbulent life story, characterised by violence, murder, exile, and untimely death, remains a source of fascination. Few paintings are better placed to tell this story than The Martyrdom of Saint Ursula. Here, violence takes place at uncomfortably close quarters&nbsp;as Caravaggio, whose own self portrait is included, looks on helplessly. &nbsp; Published by National Gallery Global/Distributed by Yale University Press &nbsp; Exhibition Schedule: &nbsp; National Gallery, London (April 18-July 14, 2024). It is not a travelling exhibition; however, the National Gallery is borrowing the painting from the Gallerie d'Italia in Naples.

The Last Caravaggio

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