Nicolas Poussin (1594-1665)

On Saturday 5 February at Corbas, near Lyon (Bérard-Péron OVV), €7,000/9,000 will be needed to walk aways with Paysage au crépuscule avec Crocus et Smilax (Landscape at dusk with Crocus and Smilax) attributed to Jean Lemaire, known as Lemaire-Poussin (1598-1659).

The Triumph of Silenus (c.1637) is the first of over a dozen Poussin (1594-1665) works acquired by the National Gallery in London. Formerly identified as a copy, research into its palette and via infrared technology has meant it is now accepted to be by the French artist. (ARTnews)

The government has banned the export of a Nicolas Poussin painting that has been in the U.K. for 240 years. Estimated at £22 million, the work is blocked in the country until January 9, pending a potential buyer, or even until July 9, 2023, if a British institution formulates a strong desire to acquire it.

Nicolas Milovanovic, co-curator with Ludmila Virassamynaïken and Mickaël Szanto of “Poussin et l’amour” (Poussin and Love) at the Musée des Beaux-Arts in Lyon, chief curator of the Louvre's Department of Paintings and a 17th-century French painting specialist, discusses this unexpected theme.

The Metropolitan Museum of Art in New York has received Nicolas Poussin’s Agony in the Garden (1626-27), courtesy of New York collectors Barbara and Jon Landau. Depicting the New Testament scene in which Jesus goes to the garden of Gethsemane after the Last Supper, it adds to the Met’s collection of six Poussin works.

The search for Nicolas Poussin’s Lot with His Two Daughters Serving Him a Drink, looted from Jewish owners in France during the occupation, began last year. It has now been found by the Italian police force near Padua. The carabinieri have now returned it to its heirs. (RFI)

Étienne de Lavallée-Poussin (1733-1793) drew inspiration from the English school to paint this 1798 portrait of members of the Eeremans de Beaufort family.

A mature work by Félix Vallotton (1865-1925), La Seine aux Andelys, le soir, which goes up for sale soon, represents the artist's final research, returning to the classical landscape.

In 1950, Nicolas de Staël entered a period of maturity in which he used a lighter palette and more spacious forms—as seen in this composition, which has been in only two private collections.

The musée d’Art moderne de Paris (MAM) traces the development of an unclassifiable painter whose colors collide and intensify each other. there are many surprises, including nearly 50 works being seen for the first time.