Nicolas Poussin (1594–1665), Circle of - Venere dormiente

Circle of NICOLAS POUSSIN
(Les Andelys, 1594 – Rome, 1665)
Sleeping Venus
Oil on canvas, 60 x 83 cm
Frame size, approx. 77 x 98 x 5 cm.


NOTE: Publication of the Intermidiart collection catalog. Certificate of Guarantee and Lawful Provenance. Artwork with wooden frame (defects):

We present this splendid work created in the second half of the seventeenth century by a talented artist, depicting a captivating mythological subject: a sleeping Venus surrounded by cupids. Of clear Roman origin, the intense luminosity that envelops the composition, along with a skillful use of chiaroscuro, is further enhanced by a rich color palette and a serene yet sensuous atmosphere.
In our canvas, the narrative – set in an open countryside – unfolds around the figure of Venus sleeping, captured with intense realism and calibrated theatricality. The young goddess lies naked on a white sheet with yellow-ochre and golden tones, completely surrendered to sleep, while beside her a putto leans in an attempt to cover her.
Despite the strong charge of pathos, the canvas displays an admirable balance in the construction of the scene: Venus is depicted almost entirely nude, veiled only by a drapery that conceals her pudenda; the background, on the right, shows a mountainous landscape, while at the top, a heavy dark green drapery is draped, supported by two putti framing the scene—on one side—balanced by the presence of a tree on the left. The atmosphere, undeniably lascivious, invites interpretation of the depiction as an allegory of the pleasures of carnal love. The explicit sensuality of the painting, due to the almost complete nudity of the goddess, contains an evident erotic allusion, emphasized by the contrast between Venus's opulent, golden forms and the brown tones of the ground. These are recurring themes in 'bedroom' paintings, intended for private spaces within noble residences, often characterized by subjects of this nature, meant for the enjoyment of the patron.
The work, which shows elements attributable to the Venetian school with French influences, suggests it was created in the Roman environment around the second half of the century by an artist who certainly had the opportunity to compare his work with that of Nicolas Poussin (active in Italy between 1624 and 1640). Although it is not easy to make a precise attribution, considering the vibrancy and heterogeneity of the cultural environment of the time, the excellent quality of the painting makes it plausible to place it within the circle or workshop of the great Italo-French master.
Another element of reflection arises from comparing with another painting, cataloged by the Cultural Heritage authorities, depicting the same subject in an oval shape, attributed to the Venetian context of the eighteenth century and housed at the National Museum 'Giovanni Antonio Sanna' in Sassari. This reference suggests—albeit cautiously—the possibility of considering a Venetian artist such as Giulio Carpione (Venice, 1613 – Verona, 1678), whose style, as Pallucchini states (1981, p. 207), expresses the particular ability to 'translate Poussin's myths into the Venetian dialect'.
Regarding the conservation status, the canvas appears to be in generally decent condition, considering the age of the painting. The painted surface is yellowed due to the patina and shows accumulations of dirt. Under Wood light, some scattered restorations are visible, with slight paint retouchings. Under sunlight, a craquelure consistent with the age of the work is visible, along with micro-flakes of paint and additional retouchings. Overall, no particular conservation issues emerge, although the work may seem in need of interventions to deepen the attribution study. The frame may have been replaced during a lining.
The painting – of good painterly skill – is very interesting both for its iconographic composition and for the application of colors, elements that attest to the artist's interpretative quality. The dimensions of the canvas are 60 × 83 cm. The painting is enhanced by a beautiful wooden frame (dimensions approximately 77 x 98 x 5 cm, with some defects). "The frame shown in the photos above was added to the artwork by the seller or a third party. The frame is provided at no additional cost so that it is ready for display upon arrival. The frame is included as a courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as a valid reason to open a claim or request order cancellation."

Provenance: private collection

Publication
Unpublished
Myths and the Land in Sicily with a Thousand Cultures. UNPUBLISHED QUADRERIA, general catalog of paintings from the collection of the cycle 'Myths and the Land,' Edition, Lab_04, Marsala, 2025.

The work will be shipped – as it is fragile – with a wooden crate and polystyrene. In the case of sales outside Italian territory, the buyer will need to wait for the export procedures to be completed.