ABSTRACT
In 1949 a monographic exhibition on Poussin opened in the Bibliotheque Nationale in Paris, which was the, so to speak, 'zero grade' of a bigger project that Jamot's niece, Therese Bertin-Mourot, had tried to launch already in November 1947. The second national monographic Poussin exhibition took place ten years later, in 1959, in the United States, as the fruit of two museums in Toledo, Ohio, and Minneapolis, which each had just recently acquired a painting by or then supposed to be by Poussin. It is tempting to compare the Louvre exhibition from 1960 with the shows, organised in celebration of Poussin's four-hundredth birthday in 1994, or, at the occasion of the quarter centenary of the painter's death in 2015. One thus can note certain differences. Whereas the Louvre-exhibition in 1960 dodged commemorative dates, the recent exhibitions have taken them as their justification.
