Studies after Andrea Mantegna, Giulio Romano, and the Antique

Studies after Andrea Mantegna, Giulio Romano, and the Antique by Nicolas Poussin French, 1594–1665, stands as a critical example of the rigorous academic practice underpinning the French Baroque master’s classicism. Executed between 1635 and 1640, this drawing employs pen and brown ink, along with brush and brown wash, applied meticulously to off-white laid paper. This precise combination of line work and subtle tonal modeling captures Poussin’s concentrated focus on mastering idealized forms and compositional structures.

During this period, Poussin was based primarily in Rome, where the study and assimilation of classical antiquity and Renaissance high masters were central to artistic training. The drawing explicitly documents Poussin's profound synthesis of influential precedents: the complex spatial arrangements and powerful figures derived from Andrea Mantegna, the muscular classicism perfected by Raphael’s student Giulio Romano, and motifs adopted directly from surviving ancient sculpture and reliefs. These preparatory studies were essential for developing his celebrated mythological and historical compositions.

The work illustrates the intellectual commitment of the French school during the 17th century to the principles of order, reason, and ideal beauty. By replicating and reinterpreting the great works of the past, Poussin formalized the compositional techniques that would define his mature style. This remarkable piece is classified as a drawing and remains a cornerstone of the European collection at the Art Institute of Chicago. As an historically significant example of academic training, such foundational works often transition into the public domain, providing crucial insights into the methods of master artists like Poussin.