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・ Landsturm
・ Landstände
・ Landsverk
・ Landscape planning
・ Landscape products
・ Landscape scale conservation
・ Landscape Structures
・ Landscape urbanism
・ Landscape with a Carriage and a Train
・ Landscape with a Church at Twilight
・ Landscape with a Cottage and Trees
・ Landscape with Charon Crossing the Styx
・ Landscape with Cows and Camel
・ Landscape with Dunes
・ Landscape with Obelisk
Landscape with Orpheus and Eurydice
・ Landscape with Philemon and Baucis
・ Landscape with Pollard Willows
・ Landscape with Polyphemus
・ Landscape with Psyche Outside the Palace of Cupid
・ Landscape with Snow
・ Landscape with the Ashes of Phocion
・ Landscape with the Fall of Icarus
・ Landscape with the Fall of Icarus (disambiguation)
・ Landscape with the Fall of Icarus (poem)
・ Landscape with the Flight into Egypt
・ Landscape with Trees
・ Landscape with Waterfall
・ Landscape with Wheelbarrow
・ Landscape zodiac


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Landscape with Orpheus and Eurydice : ウィキペディア英語版
Landscape with Orpheus and Eurydice

''Landscape with Orpheus and Eurydice'' is a huge 200 × 124 cm (approx 6.5 × 4 feet) oil-on-canvas by artist in the classical style Nicolas Poussin, painted between 1650 and 1653. It is currently held and exhibited at the Louvre in Paris
==History==
Nicolas Poussin painted this work for his longtime friend and patron, Jean Pointel, who was a rich banker in Paris. Pointel also was a member of the libertines, a circle which Poussin himself frequented. It was in Pointel's collection, which had many works by Poussin, but was stored away after the political climate in Paris changed. In its place Poussin`s landscape with snake and dying man, was hung in Pointel`s private collection.
Poussin places the story of Orpheus in the Campagna Romana (Roman countryside): the Castel Sant'Angelo and the Torre delle Milizie ("Tower of the Militia") figure in this painting, borrowed from the landscape of the Eternal City. Dense smoke pours from a fire which devastates the Castle, and darkens a sky already overcast with sombre clouds. The fall of the light divides the landscape diagonally into bright and dark areas - a division clearly seen on the Torre delle Milizie.〔F. Negri Arnoldi, ''Storia dell'Arte'', Fabbri Group (1990), Vol.3, pp.260-262, ISBN 978-88-450-0735-4. See also, 〕
Many of Poussin's pictures have darkened, mainly as a result of a red underpainting which has begun to show through the colours. The ''Orpheus'', however, is free of this: it has kept its original transparency even in the darker passages, and the whole painting is in a particularly fine state of preservation.
This work by Poussin remains cryptic and there are various opinions about possible ways to decipher it.

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