Texte remanié de: Dissertation--Aachen--Technische Hochschule, 1998. / Bibliogr. p. 322-339.

Texte remanié de : Dissertation : Kunstgeschichte : Universität Tübingen : 1999. / Bibliogr. p. [421]-466. Notes bibliogr. Index.

Universiẗat, Diss., 2002--Marburg.

Diss.--Philosophisch-historische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 1996. / Bibliogr. p. 163-181. Index.

Texte remanié de: Diss.--Ludwig-Maximilian-Universität--München, 1991. / Bibliogr. p. 259-266. Contient un résumé en anglais.

Galileo's confirmation of Copernican cosmology was one of the major cultural problems of seventeenth-century Europe. Which was right? The reasoned experiments of science, or the faith of the Roman Catholic Church, which condemned such cosmology as contrary to Holy Writ? Nicolas Poussin, the classical French painter in Rome, offered his personal solution to this dilemma in his final paintings, mainly landscapes, usually mythological, but always allegorical. From antique, sixteenth-century and Campanellan thought, particularly Stoicism, he depicted the order and harmony of Creation by means of allegory. He concluded with Campanella that contemplation of the Copernican universe offered a means of spiritual growth. To Poussin, the Stoic Divine Reason behind Nature became the sign of eternal salvation offered by God to those who accepted union with Him. In particular, he felt that this union depended upon Man’s use of the Christian sacraments to obtain the grace needed to act in co-operation with God. This fusion of religious feeling with philosophical conviction caused an exquisite integration of form with complex allegorical content, in an intense unity characteristic of the age of the Baroque. The masterly classical freedom and precision of Poussin’s final manner adapted all pictorial elements in order to arouse delectation, or spiritual delight, in the person who perceived his pictures. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Rapport de recherche bibliographique DESS : Ingénierie documentaire : Ecole nationale supérieure des sciences de l'information et des bibliothèques, Université Claude Bernard Lyon 1 : 2002.

Thesis--Utrecht. / Vita. Includes summary in English. Includes bibliographical references (p. 241-243).

Thesis--Utrecht. / Vita. Includes summary in English. Includes bibliographical references (p. 241-243).

Nicolas Poussin's landscapes, The Four Seasons, 1660-1664, have been the subject of extensive analysis because of their enigmatic character and the modulation in Poussin's style in his last years. The meaning of these representations has, however, remained cryptic and, to some extent, neglected. / This thesis attempts to make a contribution toward unravelling the mystery of The Four Seasons. These profound works reflect Poussin's religious persuasion, knowledge of which is essential to an understanding of them. Poussin's religious convictions, however, are difficult to discern with any precision; for, although he died a Catholic, he was closely associated with the progressive thinking that influenced religious belief in the Baroque age, much of which was rejected by the Church of Rome. / Nevertheless, Poussin was undoubtedly a devout Christian, inspired particularly by the early Christian Fathers and Stoics. It is in nature, above all, though, that he perceived God's presence and message which he strove to capture in his "altarpiece" to the seasons.