Nicolas Poussin: where to see him across these museums

Born in Les Andelys, Normandy, Poussin worked in Paris before settling in Rome in 1624, where he built his reputation on history paintings drawn from the Bible, antiquity and mythology, composed with a clarity and restraint that set him apart from the more theatrical Roman Baroque around him.

In 1640 Louis XIII summoned him back to Paris to direct royal painting projects, but Poussin found the court’s demands stifling and returned to Rome after two frustrating years, this time for good. He died there in 1665, leaving around 200 paintings — a quarter of them now in the Louvre — and a model of ordered, intellectual painting that French artists and theorists would look back to for the next two centuries.

Poussin paintings on display, museum by museum

The Art Institute of Chicago

Landscape with Saint John on Patmos — Gallery 209 (1640)

Ashmolean Museum, Oxford

The Exposition of Moses — Gallery 46 (1654)

Cleveland Museum of Art

Nymphs and a Satyr (Amor Vincit Omnia) — 212 Baroque Painting and Sculpture (c. 1625–27)
The Holy Family on the Steps — 212 Baroque Painting and Sculpture (1648)
The Return of the Holy Family to Nazareth — 212 Baroque Painting and Sculpture (c. 1627)

Dulwich Picture Gallery, London

Rinaldo and Armida — Room 11 (c.1628-30)
The Return of the Holy Family from Egypt — Room 11 (c.1628-38)
The Translation of Saint Rita of Cascia — Room 11 (Mid-1630s)
The Triumph of David — Room 11 (c.1631-3)
Venus and Mercury — Room 11 (c.1626-7)

Fitzwilliam Museum, Cambridge

Extreme Unction — Gallery 7 (1638-1640)

The Louvre

Apollon amoureux de Daphné — Salle 825 (XVIIe siècle (vers 1663 - 1664))
Apparition de la Vierge à saint Jacques le Majeur — Salle 828 (2e quart du XVIIe siècle (1629 - 1630))
Autoportrait — Salle 825 (2e quart du XVIIe siècle (1650))
Bacchanale à la joueuse de guitare — Salle 826 (2e quart du XVIIe siècle (vers 1625))
Camille livre le maître d'école de Faléries à ses écoliers — Salle 716 (2e quart du XVIIe siècle (1637))
Diogène jetant son écuelle — Salle 825 (Milieu du XVIIe siècle (vers 1654 - 1658))
Echo et Narcisse (2e quart du XVIIe siècle (vers 1629))
Eliézer et Rébecca — Salle 826 (2e quart du XVIIe siècle (1648))
Jésus Christ instituant l'Eucharistie — Salle 908 (2e quart du XVIIe siècle (1641))
L'Assomption — Salle 911 (2e quart du XVIIe siècle (vers 1649 - 1650))
L'Automne — Salle 825 (3e quart du XVIIe siècle (1660 - 1664))
L'Hiver — Salle 825 (3e quart du XVIIe siècle (1660 - 1664))
L'Inspiration du poète — Salle 826 (2e quart du XVIIe siècle (vers 1629))
L'enlèvement des Sabines — Salle 825 (2e quart du XVIIe siècle (vers 1637 - 1638))
L'Été — Salle 825 (3e quart du XVIIe siècle (1660 - 1664))
La Manne — Salle 825 (2e quart du XVIIe siècle (1638 - 1639))
La Nourriture de Bacchus — Salle 826 (2e quart du XVIIe siècle (vers 1626))
La Peste d'Asdod — Salle 826 (2e quart du XVIIe siècle (1630 - 1631))
La Sainte Famille avec saint Jean et sainte Élisabeth dans un paysage — Salle 826 (Milieu du XVIIe siècle (vers 1650 - 1651))
La Sainte Famille avec saint Jean, sainte Elisabeth et saint Joseph priant — Salle 911 (Milieu du XVIIe siècle (vers 1650 - 1951))
La Vision de sainte Françoise Romaine — Salle 826 (XVIIe siècle (1657 - 1658))
La mort de Saphire — Salle 826 (Milieu du XVIIe siècle (vers 1653))
Le Christ et la femme adultère — Salle 826 (3e quart du XVIIe siècle (1653))
Le Jugement de Salomon — Salle 826 (2e quart du XVIIe siècle (1649))
Le Printemps — Salle 825 (3e quart du XVIIe siècle (1660 - 1664))
Le Ravissement de saint Paul — Salle 826 (Milieu du XVIIe siècle (1649 - 1650))
Le Temps soustrait la Vérité aux atteintes de l'Envie et de la Discorde — Salle 908 (2e quart du XVIIe siècle (1641))
Le Triomphe de Flore — Salle 826 (2e quart du XVIIe siècle (vers 1627 - 1628))
Le jeune Pyrrhus sauvé — Salle 826 (2e quart du XVIIe siècle (1634))
Les Aveugles de Jéricho — Salle 826 (Milieu du XVIIe siècle (1650))
Les Bergers d'Arcadie — Salle 825 (2e quart du XVIIe siècle (vers 1638))
Mars et Vénus — Salle 826 (1e tiers du XVIIe siècle (vers 1625))
Moïse changeant en serpent la verge d'Aaron — Salle 826 (2e quart du XVIIe siècle (vers 1646 - 1647))
Moïse enfant foulant aux pieds la couronne de Pharaon — Salle 826 (Milieu du XVIIe siècle (vers 1646 - 1647))
Moïse sauvé des eaux — Salle 825 (2e quart du XVIIe siècle (1647))
Moïse sauvé des eaux — Salle 825 (2e quart du XVIIe siècle (vers 1638))
Orphée et Eurydice — Salle 825 (2e quart du XVIIe siècle (vers 1648))
Saint François-Xavier rappelant à la vie la fille d'un habitant de Cangoxima [Kagoshima], au Japon — Salle 908 (2e quart du XVIIe siècle (1641))
Saint Jean baptisant le peuple — Salle 826 (2e quart du XVIIe siècle (1635 - 1637))

National Galleries of Scotland, Edinburgh

Moses Striking the Rock — National (On Display) (About 1637)
Mystic Marriage of Saint Catherine — National (On Display) (About 1628 - 1629)
The Sacrament of Baptism — National (On Display) (1646)
The Sacrament of Confirmation — National (On Display) (1645)
The Sacrament of Extreme Unction — National (On Display) (1644)
The Sacrament of Marriage — National (On Display) (1647 - 1648)
The Sacrament of Ordination — National (On Display) (1647)
The Sacrament of Penance — National (On Display) (1647)
The Sacrament of the Holy Eucharist — National (On Display) (1647)

The National Gallery, London

A Bacchanalian Revel before a Term — Room 29 (1632-3)
Cephalus and Aurora — Room 29 (About 1630)
Eucharist — Room 29 (About 1637-40)
Landscape with Travellers Resting — Room 29 (About 1638-9)
Landscape with a Man killed by a Snake — Room 29 (Probably 1648)
Landscape with a Man scooping Water from a Stream — Room 29 (About 1637)
Marriage — Room 29 (About 1637-40)
Nymph with Satyrs — Room 29 (About 1627)
The Adoration of the Golden Calf — Room 29 (1633-4)
The Annunciation — Room 29 (1657)
The Nurture of Bacchus — Room 29 (About 1628)
The Triumph of Pan — Room 29 (1636)

National Gallery of Art, Washington

The Assumption of the Virgin — M-036 (c. 1630/1632)
The Baptism of Christ — M-036 (1641/1642)

Petit Palais, Paris

Le Massacre des Innocents — Salle 28 (Entre 1626 et 1627)

Rooms and display status checked against each museum’s own collection database.

Listen to the commentary in the gallery

This list tells you where to look. In front of the actual painting, CulturAll adds the audio commentary: photograph the work or its label, listen, then ask your questions.