(1620s)

Nicolas Poussin, the forefather of classicism, plays a key role in French art of the 17th century. He spent most of his life in Rome, where he discovered classical art and the paintings of the High Renaissance. ‘Rinaldo and Ardmida’ occupies a proud place in the Museum’s collection, and is from the period during which he was inspired by Titian. The influence of Titian helped Poussin create some of his most life-like works. Titian played a great role in Poussin’s development as an colourist. ‘Rinaldo and Armida’ is inspired by the work of the  16th century Italian poet Torquato Tasso ‘The Liberation of Jerusalem’. One of the poem’s lyrics, devoted to the crusades, talks about how the Muslim Armida, in whose lands Rinaldo the crusader found himself, should have killed the knight, but was instead bewitched by his beauty, fell in love with him, and carried him back to her gardens. This scene from the crusades is used by the artist as a classical mythological motif. The painting transports the viewer back to a world of beauty and epic poetry. The heroes' perfect beauty evokes the era of classical sculpture. The feeling of overarching joy and love not only suffuses the characters depicted, but is echoed by nature. The action takes place in a landscape presented by the artist as a striking confluence of natural phenomena. The personification of the river, in the image of a naked old man, pouring streams of water from a vessel, is an organic part of this picture. Armida’s horses, which carry her chariot through the clouds and are barely restrained by the girls, resemble the sun-god Helios' horses. The sun shines its light on Rinaldo and Armida, and on the cupids playing with the knight’s armour. The composition is clear and ordered. An almost melodic rhythm unites the forms and lines in this work, bringing together different elements from the composition, and lending it an overarching harmonic elegance. The golden tone used for Rinaldo’s armour, the soil, Armida’s chariots, and their naked bodies, is enhanced by patches of pure colour: Rinaldo’s red cloak, Armida’s blue cloak, rhythmically echoed in the blue tones of the sky and reddish tones of the girls with their chariots. The entire scene is imbued with the happiness that has awoken in Armida. A clear precision of artistic concept, and lyrical inspiration come together into one whole.