He Created Small Figurines as Models
Poussin’s genius lay not only in his talent but also in his innovative techniques. Before painting, he would sculpt small wax figurines, dress them in fabric, and place them inside an optical box. He arranged them in layers and projected light onto different painted backgrounds to create multiple perspectives for his compositions.
He Adopted His Wife’s Brothers
In 1629, while suffering from an illness, Poussin was taken in by Nicolas Dughet, a Parisian pastry chef living in Rome. During his convalescence, he met Anne-Marie Dughet, the pastry chef’s daughter, who was 27 years younger than him. They married that same year, and Poussin adopted her two brothers, including Gaspard Dughet, who later became known as Gaspard Poussin, a renowned landscape painter.
He Was Considered the New Raphael
Poussin first encountered Raphael’s masterpieces while visiting royal galleries. Fascinated by the Italian master’s perfect technique, he meticulously studied his paintings at the Royal Library. When he arrived in Rome, his work was immediately compared to Raphael’s, earning him the nickname “The New Raphael” or “The Raphael of France.”
One of His Paintings “Slept” in the Louvre’s Reserves
In 2014, the Louvre Museum reassessed a painting that had been stored in its reserves for a century. Previously dismissed as an imitation of Poussin due to its lighter subject matter, the painting was re-evaluated and confirmed as an authentic Poussin. The piece, titled Mars and Venus, was restored and displayed for the public in 2015.
A Possible Secret Code in His Paintings
Poussin painted the famous Latin phrase “Et in Arcadia ego” in both versions of his work The Shepherds of Arcadia. While this phrase translates to “I am also in Arcadia”, some theorists believe it conceals a hidden message. They suggest it is an anagram for “I ! Tego arcana dei”, meaning “Go! I hold the secrets of God.” This has led to speculation that Poussin possessed esoteric knowledge, possibly even the location of Jesus Christ’s tomb.
He Defied King Louis XIII
In 1624, Poussin fulfilled his dream of moving to Rome. However, his rising fame attracted the attention of King Louis XIII, who summoned him back to France in 1639. Poussin refused, despite a letter from Sublet de Noyers, the king’s minister. In response, the king dispatched Paul Fréart de Chantelou to fetch him. Under pressure, Poussin returned to France, where he was warmly received and named Painter to the King. Nevertheless, he returned to Rome in 1642, unable to resist its artistic allure.
He Likely Suffered from Parkinson’s Disease
During the last twenty years of his life, Poussin experienced hand tremors and ataxia, symptoms now associated with Parkinson’s disease. However, since the condition had not yet been identified, historical records never refer to it by that name. Despite his worsening health, Poussin continued to paint until his death, though some of his later works appear slightly blurred and imprecise.
His Tomb May Also Hide a Secret
Some researchers believe that Poussin’s tomb holds an esoteric mystery, similar to those suggested in his paintings. The tomb, commissioned by Chateaubriand, features The Shepherds of Arcadia, a painting already suspected of containing a hidden message. Additionally, its Latin epitaph translates to: “He is silent here, but if you wish to hear him speak, it is astonishing how he lives and speaks through his paintings.” This cryptic inscription has fueled speculation about an undisclosed secret.
Chateaubriand Commissioned a Monument in His Honor
Poussin was buried in 1665 at San Lorenzo Church in Rome. Over 160 years later, in 1828, French writer François-René de Chateaubriand, then the French ambassador in Rome, commissioned a monument in tribute to the painter. He enlisted French artists from the Villa Medici to create it. The monument includes a bust of Poussin, an inscription, and an engraving of The Shepherds of Arcadia.
He Depicted Multiple Moments of a Story in a Single Painting
Poussin had a favorite painting among his works: The Judgment of Solomon, completed in 1649. This masterpiece captures the entire biblical story in one frame. The painting depicts the moment two women appeal to King Solomon to decide who is the rightful mother of a surviving child. Every detail is meticulously placed: from the king’s pointing finger, delivering his verdict, to the protective gesture of the true mother, and the accusatory hand of the false mother. Nothing in the composition is left to chance.