Raphael, Poussin, and Lairesse

Gerard de Lairesse,  The Death of Germanicus,  ca. 1670,  Kassel, Gemäldegalerie Alte Meister

Like Rembrandt, Gerard de Lairesse never visited Italy. But whereas, for Rembrandt, this failing did not matter greatly, given that he was forging a distinctive, individual manner, Lairesse was trying to follow in the footsteps of artists, such as Raphael, Poussin, Carracci, and Domenichino, whose work he had never seen. The artist often characterized as “the Dutch Raphael” or “the Dutch Poussin” only knew the works of Raphael and Poussin through prints. In this paper I examine how this vicarious knowledge of “the grand manner” influenced Lairesse’s own pictorial style, focusing in particular on his theory and practice of color.

DOI: 10.5092/jhna.2020.12.1.3

Acknowledgements

I thank Elmer Kolfin, Eric Jan Sluijter, and the peer reviewer of this journal for criticism and information.

Imprint

Review: Peer Review (Double Blind)
DOI: 10.5092/jhna.2020.12.1.3
License:
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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Recommended Citation:
Paul Taylor, "Raphael, Poussin, and Lairesse," Journal of Historians of Netherlandish Art 12:1 (Winter 2020) DOI: 10.5092/jhna.2020.12.1.3