I've objected to Jonathan Jones's reductive view of 17th century art before- see here- so when he wrote an article on Poussin denouncing the artist and accusing Poussin scholars of snobbery, I felt compelled to post. Sadly, Jones's view is drearily typical of how Poussin is seen today: an academic painter, of interest only to intellectuals pursuing esoteric themes in his art. It has to be said that Poussin studies itself has done much to promote this false view, Just take a look at the Villa Medici conference of a few weeks ago- that had all the hallmarks of a cabbalistic society intent on keeping Poussin a secret. At least Jones's article is out in the public realm, which is really where the debate on Poussin should be, rather than sequestered away in the hallowed halls of academe or curatorial departments.
Admittedly, there are exhibitions for the public to see; there were ones in Bilbao and New York in 2007/8. Yet, although they were open to the public, was any attempt made to arrange a conference of scholars whom the public could hear? No, of course not. The curators of this exhibition organised the events to showcase a picture that was going into a French provincial museum. There's nothing wrong with that, but there is a downside to all this curatorial activity becoming visible. My New Zealand colleague, Tony Green, who has just published Poussin's Humour, a book that counteracts the classical, dry-as-dust- perception of Poussin, has an interesting take on this controversy. Tony points out that attitudes like Jones's are down to the increase in information flow that highlights the prices of Poussin paintings, the re-discovery of lost works- and so on. That data nexus does give the punter - and journalist- the image of Poussin studies as the preserve of curators and museum professionals who certainly can be snobbish where this painter is concerned. Jones says that he was invited to a Poussin exhibition once, and where was this show put on? The Villa Medici, of course. Is it any wonder that Jones holds the view that Poussin studies is an elitist field?
But not all Poussin scholars regard Poussin as a figure of academic classicism to be preserved in amber for the delectation of connoisseurs. Outside the small circle of scholars grimly hanging onto the idealist view of Poussin, new work is emerging; but the problem is that it takes a very long time, not only for fresh writing to be published, but for work to become assimilated into the field. A high-ranking scholar once told me that Poussin studies moves "slowly." Substitute glacial for slowly, an apt metaphor for as far as Poussin studies are concerned, we seem to be frozen. We're looking at a cultural field that has turned to ice. Still, there are signs of the Great Thaw- the ice can't melt quickly enough for this Poussin Eskimo.
Despite Jones's ill-judged attack on Poussin, it has served the purpose of stimulating debate about this painter. I'm heartened by the number of comments and the fact that people feel strongly enough to give their views. A great many don't buy into Jones's naive view of Poussin. That suggests to me that the web may have a significant role to play in the battle for Poussin's soul in the future .Let's face it. We need all the help we can get!
my book 'Poussin's Humour' is out of print, but is now available from Amazon & from Smashwords for $8 US
Posted by: Tony Green | 06/23/2013 at 09:55 PM