Gaspard Poussin

Gaspard Poussin , 1615-75, French landscape painter, b. Rome. The son of a Frenchman named Dughet, he adopted the name of his brother-in-law, Nicolas Poussin , in whose studio he worked and whose influence is visible in his interpretations of the Italian countryside. Gaspard is particularly noted for his storm effects. He is best represented in the Colonna Palace and the Doria Palace, both in Rome.

Dughet, Gaspard ( Gaspard Poussin) (b Rome, 4 June 1615; d Rome, 25 May 1675). Franco-Italian landscape painter, draughtsman, and etcher, the son of a French cook and his Italian wife. He never left Italy, spending almost all his life in or near Rome, but he is traditionally considered a member of the French School. In 1630 his sister married Nicolas Poussin, with whom he studied c.1631–5 and whose surname he adopted. A few paintings have been disputed between the two artists, but usually Dughet's work is fairly distinct in spirit from that of his illustrious brother-in-law. He combined something of Poussin's solidity with Claude's romanticism, but he preferred a more rugged type of scenery, and he was particularly fond of the countryside near Tivoli (where he often stayed), with its cliffs, cascades, and dense vegetation (View of Tivoli, c.1645–50, Hatton Gal., Newcastle upon Tyne). Very few of his paintings can be securely dated—the main exceptions are his frescos (c.1647–50) on the history of the Carmelite Order in S. Martino ai Monti, Rome (these too are landscapes)—and it has proved difficult to establish a chronology for him. However, in spite of the lack of detailed knowledge of his work, it is clear that he enjoyed a successful career and in the 18th century his reputation stood very high, particularly in England. His pictures were avidly sought by English collectors and he influenced painters such as Richard Wilson and the supporters of the Picturesque.

Dughet, Gaspard ( Gaspard Poussin) (1615–75). Franco-Italian landscape painter, draughtsman, and etcher, born in Rome, the son of a French cook and his Italian wife. He never left Italy, spending almost all his life in or near Rome, but he is traditionally considered a member of the French School. In 1630 his sister married Nicolas Poussin, with whom he studied c.1631–5 and whose surname he adopted. A few paintings have been disputed between the two artists, but usually Dughet's work is fairly distinct in spirit from that of his illustrious brother-in-law. He combined something of Poussin's solidity with the romanticism of Claude, but he preferred a more rugged type of scenery, and he was particularly fond of the countryside near Tivoli (where he often stayed), with its cliffs, cascades, and dense vegetation (View of Tivoli, c.1645–50, Hatton Gal., Newcastle upon Tyne). Very few of his paintings can be securely dated—the main exceptions are his frescos (c.1647–51) on the history of the Carmelite Order in S. Martino ai Monti, Rome (these too are landscapes)—and it has proved difficult to establish a chronology for him. However, in spite of the lack of detailed knowledge of his work, it is clear that he enjoyed a successful career and in the 18th century his reputation stood very high, particularly in England. His pictures were avidly sought by English collectors and he influenced painters such as Richard Wilson and the supporters of the Picturesque.