Gaspar Poussin Dughet
(1615 - 1675) |
|
Landscapes, Frescos Art Work
| Name: |
Gaspar Poussin Dughet |
| Gender: |
Male |
| Place of Birth: |
Rome |
| Nationality: |
|
| Birth: |
1615 |
| Death: |
1675 |
| Website: |
|
| Past Auctions: |
Click Here |
|
|
Quick Facts
| Known For: |
Landscapes, Frescos |
| Medium: |
|
| Method: |
|
| Style: |
|
| Fine Art Profession(s): |
Painting
|
|
|
Biography
| Together with Salvator Rosa (his exact contemporary), Gaspard Dughet was the leading landscape painter of his generation in Italy. The pupil and brother-in-law of Poussin, Dughet probably worked with Poussin in the early 1630s. There remains some speculation that Dughet himself initiated and developed the classical style in landscape. The question rests on the attribution of a group of early 1630s paintings to the "Silver Birch Master." Opinion is divided as to authorship, some scholars claiming these to be early landscapes by Poussin, while others assign them to Dughet. If these works are by Dughet, they demonstrate his precocity and show him to be a collaborator and influence in the Poussin studio. Few surviving documents fix Gaspard's life. His sister Anne-Marie Dughet married Poussin in 1630. Gaspard himself traveled a bit, particularly in the countryside around Rome, where the landscape afforded his principal subject. He rented homes in Tivoli and Frascati, for example, to work from the picturesque views. By 1647 Dughet was back in Rome. His bestdocumented works are the frescoes done between 1647 and 1651 in the Roman church of San Martino ai Monti, where he set in landscape a series of episodes taken from the stories of the Carmelite Order. Decorative and occasionally dramatic, these landscapes-as well as those done for the Muti Bussi all' Aracoeli palace, the Doria-Pamphili palace, and the Quirinale and Colonna palaces-established Dughet's reputation as the premier producer of large-scale landscape murals for Roman palaces, a type of work for which Claude* and Poussin were not fitted, it seems. Because of his many imitators, Dughet's oeuvre remains somewhat problematic. Numerous easel paintings are attributed to him. At times a keen observer of nature (such as in his depictions of Tivoli [Puerto Rico, Mus6e di Ponce]), Dughet was equally capable of creating artificially constructed landscapes composed of various interlocking facets, for example, his Landscape with Goatherd and Flock (Art Institute of Chicago) or Landscape with St. Jerome (Boston, Museum of Fine Arts). Sometimes highly emotive in his interpretations, Dughet has been compared with Rosa for his romantic tendencies. Dughet's work reached the peak of its popularity in the eighteenth century when it was particularly sought after by the English. English landscape painters such as Richard Wilson greatly admired him; members of the Picturesque Movement interpreted landscape through his eyes. For this reason Dughet is well represents in English collections. After the eighteenth century, however, Dughet suffered a decline in reputation. Only now are scholars actively reviving him as a subject of study and working to re-evaluate his place in the history of European painting. |
Samples of Work
|
|
