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| attributed to Nicolas Poussin Bacchanal with Bacchus and Ariadne ca. 1625-26 oil on canvas Museo del Prado, Madrid |
"This picture was in the Spanish royal collection by 1746 and may possibly have been the picture sold at the Banqueting House, Whitehall, London, 1684. In the early nineteenth century the Bacchus and Ariadne was ascribed to [Giovanni Benedetto] Castiglione, an attribution which is not correct but contains elements of truth. In my opinion it is very close to the Amor vincit omnia [directly below] at Cleveland. [Denis] Mahon accepts the Bacchus and Ariadne as an original and dates it to 1627. [Also accepted as original by Jacques Thuillier and Pierre Rosenberg.]
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| attributed to Nicolas Poussin Amor vincit omnia ca. 1625-27 oil on canvas Cleveland Museum of Art, Ohio |
"This picture was included in the [major Poussin exhibition at the Louvre curated by Anthony Blunt in 1960], but at once aroused grave doubts. A drawing for the painting in the Lugt collection was published by [Eckhard] Shaar, who attributes both painting and drawing to [Pier Francesco] Mola."
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| attributed to Nicolas Poussin Landscape with Arcadian Shepherds ca. 1627 oil on canvas Walker Art Gallery, Liverpool |
"According to the catalogue of the Walker Art Gallery, the painting was probably bought by the Liverpool Royal Institution in 1842. Accepted by [Otto] Grautoff and [Paul] Jamot, but apparently by the same hand as the Amor vincit omnia at Cleveland [above]."
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| attributed to Nicolas Poussin Nymph with a Satyr Drinking mid-17th century oil on canvas Museo del Prado, Madrid |
"Said to have been bought by Philip V in 1724 from the heirs of Carlo Maratta, but the picture does not fit with the description given in the inventory of Maratta's collection. [Blunt lists this painting as an early copy of an original by Poussin.]"
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| attributed to Nicolas Poussin The Nurture of Jupiter ca. 1650 oil on canvas National Gallery of Art, Washington DC |
"This picture is known in two versions, one in the National Gallery of Art, Washington, the other [in a private collection]. Both are in my opinion by the 'Hovingham Master' as is also the drawing of the subject in Stockholm."
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| attributed to Nicolas Poussin Nymph Surprised by Satyrs 17th century oil on canvas National Gallery, London |
"Another composition of this subject [Nymph Surprised by Satyrs] is known in three versions: two, almost identical versions, in the Kunsthaus, Zurich and [in a private collection], and a variant in the National Gallery, London. The Kunsthaus versions was shown at the [major Poussin exhibition at the Louvre curated by Blunt in 1960] but immediately aroused doubts and cannot in fact be by the artist. The National Gallery version seems to be by a later hand."
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| attributed to Nicolas Poussin Midas before Bacchus ca. 1628-30 oil on canvas Alte Pinakothek, Munich |
"First recorded in Electoral collection in 1781. . . . The attribution to Poussin has never been challenged but is, I think, wrong for the following reasons. First, the picture contains a breach of the unity of time, in that Midas appears in the foreground kneeling before Bacchus and again in the distance on the right washing in the Pactolus. There is no example of such an illogical arrangement in any work certainly by Poussin and it is altogether contrary to his principles. Secondly, there is no instance in Poussin's work of the sort of confused designing which occurs in the middle of the present picture, where the two satyrs behind the principal figures are so disposed that it is hard to know their exact position in space, and Bacchus seems at first sight to be sticking his left hand into the open mouth of the seated satyr, who is in fact well behind him. Thirdly, the actual paint is thin and chalky, with a quality not to be paralleled in genuine works by Poussin; on the other hand the picture does not look like a copy. It would be difficult to propose an alternative attribution, but certain parts of the picture, such as the sleeping Silenus and the two satyrs, have affinities with the group of works which I should tentatively ascribe to the 'Heytesbury Master'."
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| attributed to Nicolas Poussin Venus and Adonis ca. 1628-29 oil on canvas Kimbell Art Museum, Fort Worth, Texas |
"Several versions are known of this picture, of which the best is probably that in the collection of Sir Francis Cook [the painting above, now in the Kimbell Art Museum]. . . . The design belongs to the group which I attribute to the 'Master of the Clumsy Children'."
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| attributed to Nicolas Poussin Two Children ca. 1639 oil on canvas Wilton House, Wiltshire |
"A very fine early copy after two figures in the Bacchanal before a Herm [universally accepted as an original by Poussin] in the National Gallery, London."
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| attributed to Nicolas Poussin Jupiter and Antiope before 1693 oil on canvas private collection |
"This composition is known in several versions. . . . It was engraved by B. Picart in 1693 under the title Hermaphrodite. The composition is certainly not by Poussin, but is probably by the 'Hovingham Master'."
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| attributed to Nicolas Poussin Triumph of Ovid ca. 1624-25 oil on canvas Palazzo Corsini, Rome |
"Published by [Jacques] Thuillier with hesitant support for the old attribution to Poussin, which, however, cannot be maintained."
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| attributed to Nicolas Poussin Venus and Adonis ca. 1640 oil on canvas (canvas divided in the 18th century, reunited in 2010) Musée Fabre, Montpellier |
"The seals on the back of the canvas, and a label reading di casa Boccapadule, prove that the painting came from the Palazzo Boccapaduli, but it cannot be certainly identified with any picture in the early accounts of [Cassiano dal] Pozzo's collection [part of which was inherited by the Boccapaduli]. It must be the Vénus et Adonis: grand paysage mentioned by La Roque, who was in Rome between 1775 and 1778, and the Paysage avec des figures représentant Vénus et Adonis given by [Andrea] Manazzale in 1794. In spite of its provenance, however, I do not believe the picture to be by Poussin. It seems to be by a very skilful imitator, close to [Pietro] Testa."
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| formerly attributed to Nicolas Poussin, currently attributed to Karel Philips Spierincks Jupiter and Callisto before 1639 oil on canvas Philadelphia Museum of Art |
"The Philadelphia picture, which was bequeathed to the Museum by Mrs. Carol Tyson in 1963, was bought from Wildenstein, who had it from the Baron de la Tournelle. . . . Some doubts have been expressed verbally about the authenticity of the Philadelphia picture, but those who were sceptical have generally suggested that it was a copy of a lost original. The hard quality of the painting, the mechanical treatment of the foliage, and the cold colouring all confirm the view that the painting cannot be from the hand of Poussin himself, but it is more than doubtful if even the design is his. Even in the eighteenth century [Denis] Diderot, who must have known the picture when it belonged to his friend Holbach, commented on the fact that it contains a breach of the unity of time, since Callisto appears twice, once in the foreground being embraced by Jupiter disguised as Diana, and once in the background being dragged along by the jealous Juno. This is a feature which is never found in works certainly by Poussin and would be contrary to his way of thinking. The work in fact shows all the characteristics of the paintings which have been ascribed to Karl Philips Spierincks, and it can be attributed to him with a considerable degree of confidence."
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| attributed to Nicolas Poussin Dido and Aeneas ca. 1633-34 oil on canvas Toledo Museum of Art, Ohio |
"At the Poussin exhibition [at the Louvre] in 1960 the attribution of the picture to Poussin gave rise to serious doubts, and I later proposed that it was a work by the 'Hovingham Master'."
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| attributed to Nicolas Poussin Time saving Truth from Envy and Discord early 19th century oil on canvas Musée des Beaux-Arts, Lille |
"Published by [Otto] Grautoff as an original sketch [by Poussin]. The picture has been generally and rightly regarded as a variant [on Poussin's painting of the same subject] by an artist of the early nineteenth century, perhaps [Théodore] Géricault."
– Anthony Blunt, Nicolas Poussin, (Phaidon Press, 1958) and The Paintings of Nicolas Poussin: Critical Catalogue (Phaidon Press, 1966)