Here Landscape with St Matthew and the Angel , which parallels the Landscape with St. John on Patmos that we posted on December 27 last. Pierre Rosenberg assumed that Poussin had undertaken to represent the four evangelists [1] , but if this was indeed the case, he will not led his project, and we only has left, sur ce thème, que ces deux tableaux. M. Rosenberg les date de 1640, alors que le peintre s’apprêtait à quitter la Ville Éternelle pour Paris, ce qui expliquerait l’interruption de ce cycle.
La construction formelle de l’œuvre que nous présentons aujourd’hui est facile à déchiffrer. Situé immédiatement à gauche du centre et au premier plan - très ramassé dans ce tableau -, l’Ange debout converse avec l’apôtre assis, un stylet à la main et un papyrus sur le genou. Saint Matthieu est vêtu de bleu et de jaune, couleurs Celestial and Angel in white, symbolizing purity and immateriality, as it should. Like St. John in the parallel array, they are surrounded by barrels of broken columns and other remains of monumental architecture, an allusion perhaps to futility of human affairs in general and at the end of the pagan cults In particular, each other and disappearing before the words of life that is precisely the Evangelist writing: "Heaven and earth will pass away but my words shall not pass away" [2] . The second plane is occupied by the inverted S that describes the river, the model is of course the Tiber, framed by two groves that respond to the left and right, which creates a deep, common in landscape painting the seventeenth century (unlike the classical masters of the sixteenth, such as Raphael, who cut plans more clearly). In the background, a massive tower rises in the wake of two characters over a village, it obviously helps to mark the centerline of the table. Hills in background right, and left a breakaway just close it all.
La construction formelle de l’œuvre que nous présentons aujourd’hui est facile à déchiffrer. Situé immédiatement à gauche du centre et au premier plan - très ramassé dans ce tableau -, l’Ange debout converse avec l’apôtre assis, un stylet à la main et un papyrus sur le genou. Saint Matthieu est vêtu de bleu et de jaune, couleurs Celestial and Angel in white, symbolizing purity and immateriality, as it should. Like St. John in the parallel array, they are surrounded by barrels of broken columns and other remains of monumental architecture, an allusion perhaps to futility of human affairs in general and at the end of the pagan cults In particular, each other and disappearing before the words of life that is precisely the Evangelist writing: "Heaven and earth will pass away but my words shall not pass away" [2] . The second plane is occupied by the inverted S that describes the river, the model is of course the Tiber, framed by two groves that respond to the left and right, which creates a deep, common in landscape painting the seventeenth century (unlike the classical masters of the sixteenth, such as Raphael, who cut plans more clearly). In the background, a massive tower rises in the wake of two characters over a village, it obviously helps to mark the centerline of the table. Hills in background right, and left a breakaway just close it all.
It is difficult to identify the angel who dictated a pericope in Matthew. Perhaps it is the Angel of the Resurrection which the evangelist tells us that "he came down from heaven and came and rolled back the stone and sat on it. It had the appearance of lightning, and her dress was white as snow " [3] . But St. Mark [4] and perhaps Luke [5] talk about too, so that this angel-this is not an emblem to St. Matthew. Anyway, this works like its well fulfill their purpose, which is to magnify the Gospel in which we read the words of eternal the Word incarnate.
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| Nicolas Poussin, Landscape with Saint Matthew and the Angel, circa 1640 (?) Berlin, Staatliche Museen. |
[1] See P. Rosenberg Poussin and nature URL = http://www.institut-de-france.fr/discours/discours_P_Rosenberg.pdf .
[2] Mt 24, 35.
[3] Mt 28, 2-3.
[4] Mc 16, 5.
[5] Lc 24, 4.
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