# On a Landscape of Nicolas Poussin explained — Table-Talk

> Chapter companion for Table-Talk by William Hazlitt.

## What happens

Hazlitt reflects on the annual exhibition of old master paintings at the British Gallery, celebrating the enduring power and beauty of works by artists like Rembrandt, Rubens, Titian, Claude, Guido, the Caracci, Raphael, and especially Nicolas Poussin. He praises Poussin as the most poetical of painters, one who imbues his scenes with intellectual and narrative depth, and contrasts his approach with that of Rubens and others. Hazlitt also critiques contemporary artists who fail to capture nature or the ideal, arguing that true art arises from a deep understanding of both nature and imagination.

## Themes in this chapter

### Art and Nature

Hazlitt argues that Poussin's art is a 'second nature,' not a copy but a re-creation that gives form and color to ideas, contrasting with those who fail to capture nature.

### Criticism and Critical Practice

Hazlitt engages in detailed art criticism, comparing Poussin to Rubens and Raphael, and critiquing contemporary painters who mistake lack of expression for sublimity.

### Intellectual Superiority and Its Disadvantages

Poussin's intellectual approach is praised but also noted as sometimes leading to over-gesture and caricature, a potential disadvantage of his method.

## Character check-ins

### William Hazlitt

The author and narrator, reflecting on the British Gallery exhibitions and the works of Nicolas Poussin.

### Nicolas Poussin

Central figure of the essay; praised as the most poetical painter, known for his intellectual and narrative compositions.

### Sir Joshua Reynolds

Mentioned implicitly in the context of artistic discourse; his Discourses are a touchstone for Hazlitt's critique of art theory.

## Key lines

> Poussin was, of all painters, the most poetical. He was the painter of ideas.

Hazlitt declares Poussin the most poetic painter because he focuses on conveying ideas through his art.

_Central thesis of the essay, establishing Poussin's unique genius._

> His art is a second nature; not a different one.

Poussin's art recreates nature rather than merely copying it, but it remains grounded in natural truth.

_Key distinction between ideal art and mere imitation or false idealization._

> They vulgarise and degrade whatever is interesting or sacred to the mind, and suppose that they thus add to the dignity of their profession.

Hazlitt criticizes contemporary painters who produce lifeless, expressionless works and mistakenly believe this elevates their art to the sublime.

_Critique of false pretension in art, contrasting with Poussin's true ideal._

## Links

- HTML: https://www.betterreads.online/discover/table_talk_se/chapters/volume-ii-on-a-landscape-of-nicolas-poussin
- Book: https://www.betterreads.online/discover/table_talk_se
- All chapters: https://www.betterreads.online/discover/table_talk_se/chapters