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Poussin, Marino, and the Interpretation of Mythology

1978; College Art Association; Volume: 60; Issue: 1 Linguagem: Inglês

10.1080/00043079.1978.10787515

1559-6478

Robert B. Simon,

History, Culture, and Diplomacy

Of all the figures of the seicento that have been associated with Nicolas Poussin, or compared to him, either directly or analogously, only one, Giambattista Marino (1569–1625), received any notice in the early biographies of the artist. Bellori—whose life of Poussin was published in 1672, seven years after the painter's death—records Marino's recognition of Poussin's early works for the Jesuits of Paris and the subsequent friendship of the flamboyant expatriate Italian poet, then fifty–three, and the relatively young French painter. Bellori relates that Marino invited the artist to paint and draw in his home: "Era di grandissimo sollievo al Marino la compagnia sua, perche dimorando egli per lo più indisposto in letto, godeva di vedere rappresentare in disegno le sue proprie poesie, e quelle particolarmente di Adone; de'quali disegni si conservano alcuni in un libro di sua mano, nella Bibliotheca del Signor Cardinale Massimi."1