{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O945353"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O945353/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2018LH4829/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2018LH4829/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2018LH4829","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2012FF0938","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O945353/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O945353","accessionNumber":"D.311-1885","objectType":"Drawing","titles":[{"title":"Two figures ","type":""}],"summaryDescription":"This drawing showing two draped figures meeting in front of an architectural background was probably a preparatory design for a sculptured panel or a low-relief. Although not by Poussin himself, the drawing shows some characteristics of the master’s work and was probably made by a close follower. Active in France and Italy, Nicolas Poussin (1594-1665) executed many series of paintings and drawings, with a general moralizing tone, dealing with Christian or mythological themes influenced by Roman Antiquity and the Renaissance masters.","physicalDescription":"Two draped figures, full length, seen in profile, meeting before an architectural background.","artistMakerPerson":[],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[],"techniques":[{"text":"Drawing","id":"x32498"}],"materialsAndTechniques":"Pen and brown ink and wash over traces of graphite, heightened with white","categories":[{"text":"Drawings","id":"THES48966"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2018LH4829","2012FF0938"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLH (VA)","id":"THES49654"},"free":"","case":"PD","shelf":"104","box":""}],"partTypes":[[{"text":"drawings","id":"AAT33973"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"France","id":"x28849"},"association":{"text":"","id":""},"note":""}],"productionDates":[{"date":{"text":"17th century","earliest":"1600-01-01","latest":"1699-12-31"},"association":{"text":"","id":""},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"131","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"124","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"Mounted with the following drawings: D.313-1885, D.310-1885, D.309-1885, D.312-1885, D.314-1885","marksAndInscriptions":[{"content":"","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"NAL dry stamp on lower right corner (dry version of L. 1958)"}],"objectHistory":"Bought from E. Parsons for £2.10.0 (lot price) in 1885.","historicalContext":"This drawing belongs to a series of 11 studies after the Antique (see D.309 to 319-1885) and probably made as patterns for sculptured panels or low-relief. The series was originally attributed to Nicolas Poussin but were catalogued in the section dedicated to the rejected attributions (‘dessins rejetés’) in the catalogue raisonné (Rosenberg, 1994). P. Rosenberg suggests however that the drawing was made by a close follower in the style of François Verdier (1651-1730). \r\n\r\nThe present drawing shows two draped figures meeting each other and joining their hands before an architectural background, vaguely reminiscent of a temple. This is a recurrent motif within the series (see D.309, 310, 312-1885) and probably comes from the same source. \r\n\r\nA number of decorative projects and architectural designs have been influenced by Poussin, who favoured academic individual figures. In the 17th century, Poussin merged Classical with Baroque arts, focusing on the emotional mode within a clear and fluid composition. He sometimes sculpted or drew models from the Antique and worked on the purity of contour to transmit the idea of truth and morality. In this perspective, the drawing is reminiscent of such works as the <i>Martyrdom of Saint Erasmus</i> (Vatican Pinacoteca, Rome) and <i>The Triumph of Bacchus</i> (Kansas City) drawn from Greek low-reliefs.  \r\n\r\nIn his early career, many artists worked as studio assistants with Poussin, drawing academic cartoons to help him to achieve designs for commissions and therefore imitating the master’s manner. His work influenced a major part of the 17th century artists.","briefDescription":"Drawing, Study after the Antique, by a close follower of Nicolas Poussin, French school, 17th century","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Pierre Rosenberg, Louis-Antoine Prat, <u>Nicolas Poussin, 1594-1665: catalogue raisonné des dessins</u>, Milan, Leonardo, p.898, ill. R 476,3 p. 899."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["D.311-1885"],"accessionNumberNum":"311","accessionNumberPrefix":"D","accessionYear":1885,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2026-04-28","recordCreationDate":"2009-06-30","availableToBook":false}}