In Christian tradition, Saint John the Evangelist is thought to be the youngest of Christ\u2019s twelve disciples\u2014but Nicolas Poussin depicted him here as an elderly man. The disciple has retired to the Greek island of Patmos to write the Gospel of John and the Book of Revelation; he is shown at work with his attribute, an eagle, just behind him. Poussin constructed an idealized landscape, shaping natural forms according to geometric principles and reinforcing the measured order of the composition by arranging them parallel to the picture plane. The resulting serene setting is replete with references to Greco-Roman civilization, including column fragments, an obelisk, and a temple. For Poussin and his friends and patrons, Christianity was closely linked to Stoic philosophy, which emphasized reason, unity, and serenity.<\/p>\n
Scholars now regard Poussin\u2019s art, more than that of any other seventeenth-century European artist, as synonymous with classicism, the philosophy that prized the model of ancient Greek and Roman art and architecture. Born in France, Poussin spent most of his career in Rome, painting for an educated elite. Along with Landscape with Saint Matthew<\/em> (Gem\u00e4ldegalerie, Berlin), painted the same year, Landscape with Saint John on Patmos<\/em> may have been part of a planned series including all four evangelists.<\/p>\n","short_description":null,"dimensions":"100.3 \u00d7 136.4 cm (39 1\/2 \u00d7 53 5\/8 in.); Framed: 128.6 \u00d7 164.1 cm (50 5\/8 \u00d7 64 5\/8 in.)","dimensions_detail":[{"depth":null,"width":136,"height":100,"diameter":null,"clarification":null},{"depth":null,"width":164,"height":128,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"A. A. Munger Collection","catalogue_display":null,"publication_history":"W[illiam] Buchanan, Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution, vol. 2, London, 1824, pp. 59, no. 91, 67, no. 29. \n\nJohn Smith, A Catalogue Raisonn\u00e9 of the Works of the Most Eminent Dutch, Flemish, and French Paintings, vol. 8, London, 1837, pp. 161-62, no. 316. \n\nAdela Geddes, Memoir of the late Andrew Geddes, Esq., A.R.A., London, 1844, p. 16. \n\nCharles Blanc, Histoire des peintres de toutes les \u00e9coles, pt. 2 Ecole fran\u00e7aise, vol. 1, Paris, 1864, Poussin, p. 24.\n\nEmile Magne, Nicolas Poussin, premier peintre du roi, 1594-1665, Brussels and Paris, 1914, p. 214, no. 267.\n\nAlgernon Graves, Art Sales from Early in the Eighteenth Century to Early in the Twentieth Century, vol. 2, London, 1921, pp. 347, 349.\n\nWalter Friedlaender in Das unbekannte Meisterwerk in \u00f6ffentlichen und privaten Sammlungen, ed Wilhelm R. Valentiner, Berlin, 1930, no. 74, ill.\n\nHans Posse, \u201cJohannes auf Patmos, ein wiedergefundenes Gem\u00e4lde des Nicolas Poussin,\u201d Pantheon 5 (1930), pp. 62, 64-64, ill.\n\nDaniel Catton Rich, \u201cPoussin and C\u00e9zanne,\u201d Bulletin of the Art Institute of Chicago 24 (1930), pp. 114-17, ill. cover.\n\n\u201cChicago Buys a Poussin,\u201d Art Digest 5, 7 (1931), p. 8.\n\nStaatliche Museen zu Berlin, Beschreibendes Verzeichnis der Gem\u00e4lde im Kaiser-Friedrich-Museum und Deutschen Museum, 9th ed., Berlin, 1931, p. 372, under no. 478A. \n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1931, p. 38, ill.\n\nC[larence] J[oseph] Bulliet, Art Masterpiece in a Century of Progress Fine Arts Exhibition at The Art Institute of Chicago, vol. 2, Chicago, 1933, no. 88, ill.\n\nAlfred M. Frankfurter, \u201cArt in the Century of Progress,\u201d Fine Arts, 20 (June 1933), p. 28 ill.\n\nWalter Friedlaender in Allgemeines Lexikon der bildenden K\u00fcnstler von der Antike bis zur Gegenwart, ed. Ulrich Thieme and Felix Becker, vol. 27, Leipzig, 1933, p. 326. \n\nArt Institute of Chicago, A Brief Illustrated Guide to the Collection, Chicago, 1935, pp. 26-27, ill.\n\n\u201cRobert B. Harshe,\u201d Bulletin of the Art Institute of Chicago 32 (1938), p. 49, ill.\n\nWalter Friedlaender, \u201cAmerica\u2019s First Poussin Show: The Great Classicist Illustrated by his Cisatlantic Works,\u201d Art News 38, 23 (1940), p. 14.\n\nArt Institute of Chicago, A Brief Illustrated Guide to the Collections, Chicago, 1941, pp. 32-33, ill.\n\nAnthony Blunt, \u201cThe Heroic and the Ideal Landscape in the Work of Nicolas Poussin,\u201d Journal of the Warburg and Courtauld Institutes 7 (1944), p. 156.\n\nArt Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago, Chicago, 1945, p. 34, ill.\n\nAnthony Blunt, \u201cTwo Newly Discovered Landscapes by Poussin,\u201d Burlington Magazine 87 (1945), pp. 186, 189.\n\nArt Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago, Chicago, 1948, p. 31, ill.\n\nTh\u00e9r\u00e8se Bertin-Mourot, \u201cAddenda au catalogue de Grautoff depuis 1914,\u201d Bulletin de la Soci\u00e9t\u00e9 Poussin 2 (December 1948),, p. 52, no. XXXIII, ill.\n\nAssia Visson, \u201cAux Etats-Unis: Le Cinquanti\u00e8me Anniversaire de la fondation du Worcester Art Museum,\u201d Arts, beaux-arts, litt\u00e9erature, spectacles, no. 168 (1948), p. 3 ill.\n\nWorcester Art Museum News Bulletin and Calendar 13, 7 (1948), p. 27 ill.\n\nKenneth Clark, Landscape into Art, London 1949, p. 66, pl. 65; rev. ed., New York, 1976, p. 129, fig. 82.\n\nArt Institute of Chicago, Masterpieces of the Art Institute of Chicago, Chicago, 1952, n. pag. ill.\n\nAline B. Louchheim, \u201cA New Yorker Visits the Art Institute,\u201d Art Institute of Chicago Quarterly 46 (1952), pp. 23,26, ill. \n\nTheodore Rousseau, Jr., \u201cC\u00e9zanne as an Old Master,\u201d Art News 51, 2 (1952), pp. 29, 33, ill. \n\nFred Stephen Licht, Die Entwicklung der Landschaft in den Werken von Nicolas Poussin, Basler Studien z\u00fcr Kunstgeschichte 11, Basel and Stuttgart, 1954, pp. 140-41.\n\nArt Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago, Chicago, [1956], pp. 31-32, ill.\n\nGeorges Wildenstein, Les Graveurs de Poussin au XVIIe si\u00e8cle, Paris, 1957, p. 250, under no. 186. \n\nLouis R\u00e9au, Iconoographie de l\u2019art chr\u00e9tien, Paris, 1958, vol. 3, part 2, p. 716. \n\nJean Grenier,\u201dL\u2019Esth\u00e9tique classique vue \u00e0 travers Poussin,\u201d L\u2019Oeil 58 (1959), pp. 48, 51, ill.\n\nMalcolm Vaughan, \u201cPoussin in America,\u201d Connoisseur 143 (1959), p. 127, fig. 14.\n\nPierre du Colombier, \u201cThe Poussin Exhibition,\u201d Burlington Magazine 102 (1960), p. 287.\n\n\u201cInaccessible Poussins,\u201d Connoisseur 146 (September 1960), p. 44, fig. 6.\n\nJohn Shearman, \u201cLes dessins de paysages de Poussin\u201d in Nicolas Poussin, ed Andr\u00e9 Chastel, vol. 1, Paris, 1960, p. 181, ill. opp p. xii).\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, pp. 231 ill., 360-61.\n\n\u201cExhibitions,\u201d Smith College Museum of Art Bulletin 41 (1961), p. 120. \n\nDenis Mahon, \u201cR\u00e9flexions sur les paysages de Poussin,\u201d Art de France: Revue annuelle de l\u2019art ancien et moderne 1 (1961), p. 120. \n\nL\u2019ideale classico de seicento in Italia e la pittura di paesaggio, exhibition catalogue, Bologna, Palazzo dell\u2019Archiginnasio, 1962, pp. 192-3, under no. 72.\n\nChares Gates Dempsey, \u201cNicolas Poussin and the Natural Order,\u201d Ph.D. diss., Princeton University, 1963 (Ann Arbor, Michigan, University Microfilms, 1986), pp. 9-10.\n\nWalter Friedlaender and Anthony Blunt, The Drawings of Nicolas Poussin: Catalogue Raisonn\u00e9, vol. 4, London, 1963, p. 46, under no. 279.\n\nMalcolm R. Waddinham, \u201cThe Dughet Problem,\u201d Paragone 14, 161 (1963), p. 43. \n\nA[leksandr] S[emenovich] Glikman, Nicolas Poussin (in Russian), Leningrad and Moscow, 1964, pp. 79-80, fig. 31.\n\nAnthony Blunt, \u201cPoussin and His Roman Patrons\u201d in Walter Friedlaender zum 90, Berlin, 1965, p. 59.\n\nAnthony Blunt, the Paintings of Nicolas Poussin: A Critical Catalogue, London, 1966, pp. 59-60, no. 86, ill.\n\nWalter Friedlaender, Nicolas Poussin: A New Approach, New York, [1966], p. 78, 174, pl. 38.\n\nAnthony Blunt, Nicolas Poussin, The A. W. Mellon Lectures in the Fine Arts, 1958, Washington, D.C., 1967, vol. 1, pp. 248, 272-3, 283, 285 n. 10, vol. 2, pls. 151-2. \n\nKurt Badt, Die Kunst des Nicolas Poussin, Cologne, 1969, vol. 1, pp. 573-75, vol. 2, pl. 120.\n\nFrances Vivian, \u201cPoussin and Claude Seen from the Archivio Barberini,\u201d Burlington Magazine 111 (1969), p. 722. \n\nJohn Maxon, The Art Institute of Chicago, London, 1970, p. 48, ill.\n\nHoward Hibbard, Poussin: The Holy Family on the Steps, New York, 1974, p. 35, fig. 12.\n\nJacques Thuillier, L\u2019opera completa di Poussin, Classici dell\u2019arte 72, Milan, 1974, pp. 102-103, no. 137, ill.\n\nAnthony Blunt, \u201c\u2019Landscape by Gaspard, Figures by Nicolas\u2019,\u201d Burlington Magazine 117 (1975), p. 607.\n\nMarcel Roethlisberger, \u201cGuillerot,\u201d Gazette des Beaux-Arts 6th ser., 85 (1975), p. 125.\n\nAnnie Jolain in Emmanuel B\u00e9n\u00e9zit, Dictioinaire critique et documentaire des peintres, sculpteurs, dessinateurs, et graveurs de tous les temps et de tous les pays, 4th ed., vol. 8, Paris, 1976, p. 460.\n\nJacques Thuillier, \u201cPoussin et le paysage tragique: \u2018L\u2019Orage Pointel\u2019 au Mus\u00e9e des Beaux-Arts de Rouen,\u201d La Revue du Louvre 26 (1976), p. 354 n. 25.\n\nShuji Takashina, Poussin (in Japanese), Tokyo, 1977, p. 113, pl. 44.\n\nThe Art Institute of Chicago, 100 Masterpieces, Chicago, 1978, pl. 20.\n\nAnthony Blunt, \u201cPoussin at Rome and D\u00fcsseldorf,\u201d Burlington Magazine 120 (1978), p. 421.\n\nYvonne Friedrichs, \u201cNicolas Poussin,\u201d Das Kunstwerk 31, 2 (1978), p. 77.\n\nMariana Minola de Gallotti, \u201cNicolas Poussin, 1594-1665,\u201d Goya 146 (1978), p. 125, ill. \n\nRobert Lebel, \u201c Poussin chez lui ou non \u00e0 Rome,\u201d XXe si\u00e8cle, n.s. 40, 50 (1978), p. 6, ill.\n\nMarisa Volpi Orlandini, \u201cPoussin a Roma e a D\u00fcsseldorf,\u201d Antologia di belle arti 2, 7\/8 (1978), p. 312.\n\nErich Schleier, \u201cDie Poussin-Ausstellung in Rom und D\u00fcsseldorf,\u201d Kunstcrhonik 31 (1978), p. 281.\n\nAndr\u00e1s Szil\u00e1gi, Poussin, Budapest, 1978, p. 22, fig. 37.\n\nClovis Whitfield, \u201cPoussin at Rome and D\u00fcsseldorf,\u201d Connoisseur 197 (1978), p. 305.\n\nLiaina Barroero, \u201cNuove acquisizioni per la cronologia di Poussin,\u201d Bollettino d\u2019arte 6 ser. 4 (1979), pp. 69-72, fig. 4.\n\nAnthony Blunt, The Drawings of Poussin, New Haven and London, 1979, p. 122.\n\nSandro Corradini, \u201cLa quadreria di Giancarlo Roscioli,\u201d Antologia di belle arti 3, 9 (1979), pp. 192, 194, no. 81, p. 195 n. 16, p. 196, n. 66. \n\nJohn D. Morse, Old Master Paintings in North America, New York, 1979, p. 206.\n\nClovis Whitfield, \u201cPoussin\u2019s Early Landscapes,\u201d Burlington Magazine 121 (1979), p. 10.\n\nSimonetta Prosperi Valenti Rodin\u00f2 in Disegni di Guglielmo Cortese (Guillaume Courtois) detto Il Borgognone nelle collezioni del Gabinetto Nazionale delle Stampe, exh. cat., Rome, Villa alla Farnesina alla Lungara, 1979-80, p.97, under no. 260.\n\nDoris Wild, Nicolas Poussin: Leben, Werk, Exkurse, Zurich, 1980, vol. 1, pp. 108, 128, 130-31, vol. 2, p. 107, no. 114 (ill.), p. 108, under no. 115.\n\nJohn D. Bandiera, \u201cThe Pictorial Treatment of Architecture in French Art, 1731 to 1804,\u201d Ph.D. diss., New York University, 1982 (Ann Arbor, Mich., University Microfilms, 1984), pp. 2-3, pl.1.\n\nAnthony Blunt, \u201cFrench Seventeenth-Century Painting: The Literature of the Last Ten Years,\u201d Burlington Magazine 124 (1982), p.707.\n\nHugh Brigstocke, \u201cFrance in the Golden Age,\u201d Apollo 116 (1982), p.12.\n\nAndr\u00e9 Chastel, \u201cLes Etats-Unis et la peinture fran\u00e7aise: Entre Rome et Paris,\u201d Le Monde, February 2, 1982, p.13.\n\nJoLynn Edwards, \u201cAlexandre Joseph Paillet (1743-1814): Study of a Parisian Art Dealer,\u201d Ph.D. diss., University of Washington, 1982 (Ann Arbor, Mich., University Microfilms, 1984), p. 214, fig. 143.\n\nJ.V. Hantz, \u201cLa peinture fran\u00e7aise du XVIIe si\u00e8cle dans les collections am\u00e9ricaines,\u201d L\u2019Amateur d\u2019art, no. 680 (1982), p.17.\n\nNicole Lamothe, \u201cLes Caravagesques fran\u00e7ais,\u201d L\u2019Amateur d\u2019art, no. 680 (1982), p. 14.\n\nPierre Rosenberg, \u201cEdinburgh: Poussin Considered,\u201d Burlington Magazine 124 (1982), p.376. \n\nPierre Rosenberg, \u201cA Golden Century in French Painting,\u201d Connaissance des arts 25 (February 1982), p.71. \n\nPierre Schneider, \u201cL\u2019Ombre du soleil,\u201d L\u2019Express, March 12-18, 1982, pp. 18-19. \n\nErich Schleier, \u201cLa peinture fran\u00e7aise du XVIIe si\u00e8cle dans les collections am\u00e9ricaines,\u201d Kunstchronik 36 (1983), pp. 194, 228.\n\nGem\u00e4ldegalerie, Berlin, Meisterwerke Gem\u00e4ldegalerie Berlin, Berlin, 1985, p. 362; English ed., Masterworks of the Gem\u00e4ldegalerie, Berlin, New York, 1986, p. 362.\n\nSylvain Laveissi\u00e8re in Le Classicisme Fran\u00e7ais: Masterpieces of Seventeenth-Century Paintings, exh. cat., Dublin, The National Gallery of Ireland, 1985, p. 55.\n\nChristopher Wright, The French Painters of the Seventeenth Century, London,1985, pp. 71, 249.\n\nChristopher Wright, Poussin Paintings: A Catalogue Raisonn\u00e9, New York, 1985, pp. 99, 101-02, 182, under no. 92, p. 206, under no.145, p. 207, under no. 148, p. 208, under no. 150, no. 151, pp. 252, 270, 273-74, 277, fig. 79.\n\nJean Clair, \u201cL\u2019Ob\u00e9lisque,\u201d in Il se rendit en Italie\u201d: Etudes offertes \u00e0 Andr\u00e9 Chastel, Rome and Paris, 1987, pp. 692, 697, ill.\n\nMarc Sandoz, \u201cEssai sur le paysage de montagne dans la peinture fran\u00e7aise du XVIIe si\u00e8cle,\u201d Cahiers du paysage de montagne et de quelques sujets relatifs \u00e0 la montagne 1 (1987), p. 46, fig. 60.\n\n Art Institute of Chicago Master Paintings, Chicago 1988, p. 33, ill.\n\nBurton B. Fredericksen, ed., The Index of Paintings Sold in the British Isles during the Nineteenth Century, vol. 1, 1801-1805, Santa Barbara, Calif., and Oxford, 1988, pp. 568, 979. \n\nSergio Guarino in La pittura in Italia: Il seicento, vol. 2, Milan, 1988, p. 850.\n\nJean Jacques L\u00e9v\u00eaque, La vie et l'oeuvre de Nicolas Poussin, Paris, 1988, p. 193. \n\nNicolas Poussin, Claude Lorrain: Zu den Bildern im St\u00e4del, exh. cat. Frankfurt, St\u00e4tdische Galerie im St\u00e4delschen Kunstinstitut, 1988, p. 14.\n\nJacques Thuillier, Nicolas Poussin, Paris, 1988, pp. 153, 254.\n\nYuri Zolotov, Poussin (in Russian), Moscow, 1988, pp. 130-31, 253, pl. 233. \n\nOskar B\u00e4tschmann, Nicolas Poussin: Dialectics of Painting, London, 1990, pp. 124, 147 n. 13.\n\nMichael Kitson in Claude to Corot: The Development of Landscape Painting in France, exh. cat., New York, Colnaghi, 1990, p. 22. \n\nAlain M\u00e9rot, Nicolas Poussin, Paris, 1990, pp. 112-13, 115 (ill.), 291, no. 213 (ill.), 305; English ed., tr. by Fabia Claris and Bridget Mason, New York, 1990, pp. 112-13, 115 ill., 291, no. 213 ill., 306.\n\nMargaretha Rossholm Lagerl\u00f6f, Ideal Landscape: Annibale Carracci, Nicolas Poussin, and Claude Lorrain, New Haven and London, 1990, pp. 54-55, 64-65, 114, 138, 140, 236 n. 26, fig. 30. \n\nNadejda Petroussevitch and Yuri Zolotov in Nicolas Poussin, Leningrad and Paris, 1990, pp. 18-19, p. 127, under no. 18 (ill.).\n\nRichard Verdi, C\u00e9zanne and Poussin: The Classical Vision of Landscape, exh. cat., Edinburgh, National Gallery of Scotland, 1990, pp. 26, 39, 42, 50, 73, under no. 5, p. 113, under no. 25, fig. 9.\n\nDaniel Wheeler, Art Since Mid-Century: 1945 to the Present, New York, 1991, p. 9, fig. 5.\n\nChristopher Wright, The World\u2019s Master Paintings from the Early Renaissance to the Present Day: A Comprehensive Listing of Works by 1,300 Painters and a Complete Guide to Their Locations Worldwide, New York, 1991, vol. 1, p. 248, vol. 2, pp. 62, 495. \n\nAngelika Grepmair-M\u00fcller, Landschaftskompositionen Von Nicolas Poussin, Frankfurt, Bern, New York, and Paris, 1992, pp. 55, 58-61, 65. \n\nRobert J. Loescher, \u201cLandscape Painting,\u201d in Academic American Encyclopedia, Danbury, Conn., 1992, p. 190 (ill.). \n\nChristopher Braider, Refiguring the Real: Picture and Modernity in Word and Image, 1400-1700, Princeton, 1993, pp. 239-40, fig. 73.\n\nMalcom Bull, \u201cPoussin\u2019s Snakes,\u201d in C\u00e9zanne and Poussin: A Symposium, ed. by Richard Kendall, Sheffield, England, 1993, p. 40. \n\nLarry Silver, Art in History, New York, London, and Paris, 1993, pp. 250-51, fig. 6.27.\n\nMarc Fumaroli, L\u2019Ecole du silence: Le Sentiment des images au XVIIe si\u00e8cle, Paris, 1994, pp. 122, 420-21, fig. 224.\n\nJacques Thuillier, Poussin, Paris, 1994, pp. 96, 119, 127 (ill.), p. 257, no. 148.\n\nLouis Marin, Sublime Poussin, Paris, 1995, pp. 158-59.\n\nSusan Wise in Susan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago, Chicago, 1996, pp. 117-124, ill.\n\nKonrad Oberhuber, \u201cLes dessins due paysage du jeune Poussin\u201d in Nicolas Poussin (1594-1665). Actes du colloque organis\u00e9 au mus\u00e9e du Louvre par le Service culturel ddu 19 au 21 octobre 1994, ed. Alain M\u00e9rot, Paris, 1996, p. 104.\n\nClovis Whitfield, \u201c\u00c0 propos des paysages de Poussin\u201d in Nicolas Poussin (1594-1665). Actes du colloque organis\u00e9 au mus\u00e9e du Louvre par le Service culturel du 19 au 21 octobre 1994, ed. Alain M\u00e9rot, Paris, 1996, p. 252.\n\nElizabeth Cropper, \u201cRitorno al crocevia\u201d in Poussin et Rome. Actes du colloque de\u2019Acad\u00e9mie de France \u00e0 Rome 16-18 novembre 1994, ed. Olivier Bonfait et al., Paris, 1996, pp. 259-9, 267 n. 10.\n\nJoLynn Edwards, Alexandre-Joseph Paillet, expert et marchand de tableaux \u00e0 la fin du XVIIIe si\u00e8cle, Paris, 1996, pp. 175-77, 304, no. 91, ill.\n\nSheila McTighe, Nicolas Poussin\u2019s Landscape Allegories, Cambridge and New York, 1996, p. 14.\n\nSonia Amadio, \u201cPer una prima ricognizione di dipinti di Nicolas Poussin: regesto di documenti di collezioni romane tra Sseicento e primo Settecento\u201d in Nicolas Pussin. I primi anni romani, exh. cat., Rome, Palazzo dell Esposizioni, 1998, p. 146.\n\nHenry Keazor, Poussins Parerega: Quellen, Entwicklung und Bedeutung der Kleinkompositionen in den Gem\u00e4lden Nicolas Poussins, Regensburg, 1998, p. 25.\n\nHelen Smailes, Andrew Geddes 1783-1844: Painter-Printmaker, \u201cA Man of Pure Taste,\u201d exh. cat., Edinburgh, National Gallery of Scotland, 2001, pp. 71, 80-84, 116 n. 124, 121 n. 148, fig. 62.\n\nTodd P. Olson, Poussin and France: Painting, Humanism, and the Politics of Style, New Haven and London, 2002, p. 218, fig. 109. \n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 41 (ill.).\n\nJames Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 76, 259, no. 51, (ill.).","exhibition_history":"London, British Institution, Works of Ancient Masters and Deceased British Artists, 1861, no. 22. \n\nArt Institute of Chicago, A Century of Progress, June 1\u2013November 1, 1933, no. 226.\n\nArt Institute of Chicago, A Century of Progress, June 1\u2013November 1, 1934, no. 147.\n\nArt Institute of Chicago, Masterpiece of the Month, October 1939 (no cat.).\n\nThe Arts Club of Chicago, Origins of Modern Art, 1940, no. 35. \n\nWorcester Art Museum, Massachusetts, Fiftieth Anniversary Exhibition of the Art of Europe during the XVIth \u2013 XVIIth Centuries, 1948, no. 7.\n\nThe Toledo Museum of Art, Nicolas Poussin, 1594-1665, 1959, pp. 27-28, traveled to Minneapolis. \n\nParis, Mus\u00e9e du Louvre, Exposition Nicolas Poussin, 1960, no. 68, traveled to Rouen.\n\nNorthampton, Massachusetts, Smith College Museum of Art, 1961 (no cat.).\n\nNew York, Wildenstein, Works of Art Lent from American Collections: The Italian Heritage, 1967, no. 68.\n\nThe Art Institute of Chicago, The Artist Looks at the Landscape, 1974 (no cat.).\n\nNew York, Wildenstein, Nature as Scene: French Landscape Painting from Poussin to Bonnard, 1975, no. 51.\n\nRome, Accademia di Francia a Roma, Villa Medici, Nicolas Poussin, 1594-1665, 1977-78, no. 28; Dusseldorf (no. 27 in German cat.).\n\nParis, Galeries Nationales du Grand Palais, La Peinture fran\u00e7aise du XVIIe si\u00e8cle dans les collections am\u00e9ricaines, 1982, no. 91, traveled to New York, Metropolitan Museum of Art and Art Institute of Chicago. \n\nParis, Galeries Nationales du Grand Palais, Nicolas Poussin, 1594-1665, September 27, 1994-January 2, 1995, no. 94; London, Royal Academy of Arts, January 20-April 16, 1995. \n\nChicago, Museum of Contemporary Art, Negotiating Rapture: The Power of Art to Transform Lives, June 21-October 20, 1996, cat. 68.\n\nNew York, Metropolitan Museum of Art, Poussin and Nature: Arcadian Visions, 2008, cat. 36.\n\nParis, Galeries Nationales du Grand Palais, Nature et Id\u00e9al: Le Paysage \u00e0 Rome, 1600-1650, March 8-June 6, 2011, cat. 80, 2011; Madrd, Museo National del Prado, June 27-September 25, 2011.","provenance_text":"Commissioned by abate Gian Maria Roscioli (died 1644), Rome, and paid for, with its pendant (Landscape with Saint Mathew, now Berlin, Gem\u00e4ldegalerie) on October 28, 1640 for 40 \u00e9cus [documents published by Barroero 1979 and Corradini 1979). Probably in a French collection by 1680 [when engraved by Louis de Ch\u00e2tillon, c. 1680]. Fran\u00e7ois-Antoine Robit, Paris, sold Paillet and Delaroche, Paris, May 11 and following, 1801, no. 91, to Naudou acting for Michael Bryan, for Fr 7,100 [see Edwards 1996, pp. 299, 304]; sold by Bryan, probably shortly thereafter, to Sir Simon Clarke, Bt (died 1832), Oakhill, Hertfordshire, for 1,000 gns. [see Buchanan 1824; with George Hibbert, Clarke had provided financial support for Bryan\u2019s purchases at the Robit sale]; sold Christie\u2019s, London, May 8-9, 1840, no. 39, to Geddes for 86 gns. [price and buyer in annotated catalogue at the Frick Art Reference Library]; Andrew Geddes, A.R.A. (died 1844), London; by descent to his widow, Adela Plimer Geddes (died 1881), offered for sale, Christie\u2019s, London, April 12, 1845, no. 651, bought in; offered for sale, Christie\u2019s, London, November 30, 1867, no. 56, bought in [annotated catalogue from Christie\u2019s archive, copy in curatorial file]. Acquired on the London art market by Max Rothschild, 1918 [according to Blunt 1966; in London 1960 Blunt stated that Rothschild acquired the picture in 1928]. Possibly identical with the picture that was sold at Christie\u2019s, London, December 16, 1927, no. 86, to Leger for \u00a321[see Art Prices Current, n.s. 7 London, 1928, p. 105, the dimensions given as 40 x 52 1\/2 inches; see also Posse 1930]. E. A. 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