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https://www.artble.com/artists/nicolas_poussin/more_information/style_and_technique
The theory of the modes: In 1647, Poussin developed a theory of art which held that every element of a painting (color, line, and form) had a powerful psychological impact on the viewer, and thus each of these elements must be exploited as such.
https://www.cambridge.org/gb/academic/subjects/arts-theatre-culture/western-art/poussin-and-poetics-painting-pictorial-narrative-and-legacy-tasso?format=HB&isbn=9780521833677
This examines how Poussin cultivated a poetics of painting from the literary culture of his own time, and especially through his response to the work of Torquato Tasso. Tasso's poetic discourses were the most important source for Poussin's theory of painting. The poet's ideas on artistic imitation ...
https://www.britannica.com/biography/Nicolas-Poussin/Conversion-to-Classicism
In 1647 Poussin outlined another theoretical principle that was to be crucially important for future generations of artists, particularly in the 19th century: his so-called “ theory of the modes.” Basing his ideas on the modes of ancient music, Poussin observed that all aspects of a painting should be chosen to arouse an emotion in the viewer that is appropriate to the subject.
https://www.encyclopedia.com/people/literature-and-arts/european-art-1600-present-biographies/nicolas-poussin
Poussin used various pictorial methods of painting to elicit a specific response in the educated observer, trained to understand his expressive purpose in any given work. These were the ancient Greek and Roman modes.
https://www.tuttartpitturasculturapoesiamusica.com/2018/01/Nicolas-Poussin.html
In 1647 Poussin outlined another theoretical principle that was to be crucially important for future generations of artists, particularly in the 19th century: his so-called “theory of the modes”. Basing his ideas on the modes of ancient music, Poussin observed that all aspects of a painting should be chosen to arouse an emotion in the viewer that is appropriate to the subject.
https://www.academia.edu/14095590/More_Than_a_Pretty_Picture_The_Function_of_Art_in_the_Plague_Years
Poussin's The Plague of Ashdod is a good example of art portraying other numerous suspected methods of transmission. Poussin depicts the sulfurous fumes of miasma, a plague-source theory which was widely adhered to in Western Europe, yet he also shows figures holding their noses, touching, grasping and leaning, each creating a great possibility of 18Sheila Barker, "Poussin, Plague, and …
https://www.nybooks.com/articles/1988/11/24/poussin-in-texas/
Connoisseurship cannot get by without psychological theory linking the different works of the artist: with such a theory it can make a good claim to encompass art history. The particular theory that Oberhuber supports is merely outlined in his long, brilliant, introductory essay in the Poussin catalog. It will not be to everyone’s liking.
https://searchworks.stanford.edu/view/3908689
CHAPTER 5. MECHANISMS OF MEANING: ICONOGRAPHY AND SEMIOLOGY-- Introduction-- Semiotics and Iconography-- Semiotics and Art History-- Et in Arcadia Ego: Poussin and the Elegiac Tradition-- Toward A Theory of Reading in the Visual Arts: Poussin's The Arcadian Shepherds- …
https://encyclopediaofmath.org/wiki/De_la_Vall%C3%A9e-Poussin_summation_method
The method is stronger than all Cesàro summation methods (cf. Inclusion of summation methods). In view of its weak approximative properties, the de la Vallée-Poussin summation method is practically never used in the theory of approximation of functions.
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