Word: poussins
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Dates: during 1970-1970
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...past, to be German painters. But in 1800, modern art meant neoclassicism, and that meant Rome. One of the first on the trek to Italy was Joseph Anton Koch, who headed south in 1794. There is an almost schizophrenic gap between his early landscapes, conceived in reverent imitation of Poussin, and a later painting like Macbeth and the Witches (1834). It is a full-blown response to Goethe's Sturm und Drang, with its flailing energies of cloud and sea, its Gothic spikiness, and its perverse adoption of Michelangelo's image of God on the Sistine ceiling...
...would have been more interesting to show Canaletto's view of Venice next to Guardi's Venice rather than placing a Tintoretto in between. And why is Vermeer's Young Woman between Claude Lorrain's turbulent Trojan Women and Poussin's Rape of the Sabine Women? For chronology or for a calm between two storms? Why not pair the Vermeer with Holbein's portrait of a German merchant? Pairing would at least make the viewer question why the two paintings were paired. Even pointing out both artists' attention to detail, would be better than just letting the viewer admire...