Nymphs and a Satyr (Amor Vincit Omnia), previewed as a 20 by 16 inch giclée reproduction.

Look closer

See it on a wall

Nicolas Poussin

French, 1594–1665

Nymphs and a Satyr (Amor Vincit Omnia)c. 1625–27

oil on canvas

Framed: 121 x 152 x 7 cm (47 5/8 x 59 13/16 x 2 3/4 in.); Unframed: 97 x 127.5 cm (38 3/16 x 50 3/16 in.)

Courtesy of the Cleveland Museum of Art · 1926.26

Like his colleague Claude Lorrain, Poussin depicted historical and mythological subjects in landscapes inspired by the countryside around Rome. More about this work

See it in the galleries

Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 191 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
20 × 16 in · image 17¾ × 13½
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

Made to order and shipped within the United States in about a week. Tax and shipping are added at checkout.

Download the full-resolution file, free · public domain, no account needed

About this work

Like his colleague Claude Lorrain, Poussin depicted historical and mythological subjects in landscapes inspired by the countryside around Rome. His themes were often complex, and frequently incorporated witty allusions to classical texts. Here, a playful cupid tugs Pan, the goatlegged Greek god of the woods, toward Venus, the goddess of love. The painting cleverly illustrates the Latin phrase amor vincit omnia, or “love conquers all” (in Greek, pan means “all”). The woodland setting represents the idyllic paradise of Pan’s home.

Text from the Cleveland Museum of Art.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

Nicolas Poussin

French, 1594–1665 · Born in Les Andelys; died in Rome.

Poussin left Normandy for Paris and in 1624 settled in Rome, where he spent almost all his career. After an early public commission for St Peter’s, he worked mainly for private collectors on easel paintings of classical, biblical and mythological subjects, ordered with rigorous clarity and reasoned gesture. A brief, unhappy spell as court painter in Paris in 1640–42 confirmed his preference for Rome. His later landscapes give nature a calm, architectural order, and his example became the touchstone of the French Academy.

Written by Ochre Editions.

See all 6 works by Nicolas Poussin

Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1926.26
Credit
Courtesy of the Cleveland Museum of Art
Type
Painting
Department
European Painting and Sculpture
Report this work

Tell us if this image shouldn't be here, or if its record is wrong. A person reads every report.

What's the concern?

More by Nicolas Poussin

All their works

Close in colour