About the Artwork
In Greek mythology, the moon goddess Selene was the lover of the mortal shepherd Endymion; but because of her lunar nature, their meetings could only take place at night. Nicolas Poussin has represented the poignant moment at which the two must part. Endymion kneels sadly before Selene; she gently rests her hand on his shoulder, but can do nothing to stop the impending break of dawn, as signaled by the winged figure of Night, who draws back the curtain of darkness that has protected the couple. From behind this curtain springs forth the sun god Apollo, preparing to bring in a new day by driving his chariot across the sky. Nicolas Poussin, a leading figure in the classical seventeenth-century French movement, has bathed this scene with a vaporous, golden light, infusing it with the sense of calm harmony and measured order for which he is known.
Selene and Endymion
ca. 1630
Nicolas Poussin
1594-1665
French
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Oil on canvas
Unframed: 48 × 66 1/2 inches (121.9 × 168.9 cm) Framed: 59 × 77 1/4 × 3 1/2 inches (149.9 × 196.2 × 8.9 cm)
Paintings
European Painting
Founders Society Purchase, General Membership Fund
36.11
Public Domain
Markings
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Provenance
by 1653 (possibly by 1632) until 1661, Collection Cardinal Mazarin [1602-1661] (Paris, France).by 1743, “brought from abroad” by dealer (John van Spangen, London, England);
March 4, 1743, sold by (Ford, London, England) auction van Spangen lot 179 [£49.17];
1743-1746, Spencer, possibly the Hon. John Spencer [1708–1746] (England).
by 1747, re-acquired by dealer (John van Spangen, London, England);
February 10, 1748, sold by (Cock and Langford, Covent Garden, London, England) auction John Van Spangen...deceased, lot 76 [£38.17];
1748, John(?) Blackwood [1696–1777] (London, England).
until ca. 1922 - unknown English collection;
1922, (Galerie Paul Cassirer, Berlin, Germany);
1922-1931, Julius Heinrich Haass [1869-1931] (Detroit, Michigan, USA);
by inheritance, Constance Haass McMath [1909-1978] (Grosse Pointe Park, Michigan, USA);
1936-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)
For more information on provenance, please visit:
Provenance pageExhibition History
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The exhibition history of a number of objects in our collection only begins after their acquisition by the museum, and may reflect an incomplete record.
We welcome your feedback for correction and/or improvement.
Suggest FeedbackPublished References
Graham, Maria. Memoirs of the Life of Nicolas Poussin. London, 1820, p. 223, no. 72. [see also French edition, 1821, p. 180 no. 72.]
Jules Mazarin and Henri D’Orleans duc d’Aumale. Inventaire de Tous les Meubles du Cardinal Mazarin: dressé en 1653, et publié d’après l’original, conserve dans les archives de Condé. London, 1861, p. 324, no. 269.
Cosnac, Gabriel-Jules de. Les Richesses du Palais Mazarin. Paris, 1884, p. 318, no. 1099.
Jouanny, CH. ed. Correspondance de Nicolas Poussin, Vol. 5, Archives de l’art français. Paris, 1911, pp. 39, note 2, 518.
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Dowley, Francis H. "The Iconography of Poussin's Painting Representing Diana and Endymion." Journal of the Warburg and Courtauld Institutes 36 (1973): pp. 305–318, fig. a (ill.).
Simon, Erika. "Poussins Gemälde ‘Bacchus und Midas’ in München." Jahrbuch der Hamburger Kunstsammlungen 18 (1973): 109–118, pp. 110–113, fig. 2 (ill.); p. 118.
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Martin, John R. Baroque. London, 1977, pp. 217, 325 no. 179 (ill.).
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Blunt, Anthony. "Review: Poussin at Rome and Düsseldorf." Burlington Magazine 120, n. 903 (June 1978): 421–425, p. 421.
Rosenberg, Pierre. Nicolas Poussin 1594–1665. Exh cat., Städtische Kunsthalle. Düsseldorf, 1978, no. 18 (ill.).
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Schleier, Erich. "Die Poussin-Ausstellung in Rom und Düsseldorf." Kunstchronik 31 (July 1978): 274–287, p. 285.
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Goldman, Jean. “Aspects of Seicento Patronage: Cassiano Del Pozzo and the Amateur Tradition.” Ph.D. diss., University of Chicago, 1978, p. 246.
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Selected Works from the Detroit Institute of Arts. Detroit, 1979, pp. 70, 102, no.73 (ill).
Curcio, Armando, ed. I Classici della Pittura: Poussin. Rome, 1979, cover (ill.).
Verdi, Richard. "Review: Nicolas Poussin. I: Leben, Werk, Exkurse. II: Katalog der Werke by Doris Wild." Burlington Magazine 124, no. 949 (April 1982): 247–249, p. 249.
Wild, Doris. Nicolas Poussin. Vol. 2. Zurich, 1980, p. 295, n. R57 (ill.).
Rosenberg, Pierre and John Pope-Hennessy. France in the Golden Age: Seventeenth-Century French Paintings in American Collections. Exh. cat., Metropolitan Museum of Art. New York, 1982, pp. 31–32, 88, 305–306, no. 87 (ill.).
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Liechtenstein: The Princely Collections. Exh. cat. The Metropolitan Museum of Art. New York, 1985, p. 265. [not in exhibition, cited under cat. 167]
Schneider, Mechthild. "Pygmalion—Mythos des schöpferischen Kunstlers." Pantheon 45 (1987): 111-123, p. 114, fig. 6 (ill.).
Wollheim, Richard. Painting as an Art. Princeton, 1987, p. 193, fig. 160 (ill.).
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Oberhuber, Konrad. Nicolas Poussin, The Early Years in Rome: The Origins of French Classicism. Exh. cat., Kimbell Art Museum. Fort Worth, 1988, pp. 191, 193–194, 278, no. 62 (ill.).
Lévêque, Jean J. La vie et l'oeuvre de Nicolas Poussin. Paris, 1988, p. 95 (ill.).
Thuillier, Jacques. Nicolas Poussin. Paris, 1988, p. 124.
“Front Matter.” The Burlington Magazine 130, no. 1025 (August 1988): i¬–xiv, p. vii (ill.). [citation is an add for Kimbell Art Museum Poussin show. See also vol. 130, no. 1026 (September 1988): p. xxv]
Zolotov, Yuri. Nicolas Poussin. Leningrad, 1988, p. 94, fig. 213 (ill.).
Carrier, David. "Poussin in Fort Worth: Connoisseurship as Eccentricity." Arts Magazine 63, no. 7 (March 1989): 63–67, p. 63.
Dempsey, Charles. "Mavors armipotens: The Poetics of Self-Representation in Poussin's 'Mars and Venus.'" In Der Künstler über sich in seinem Werk: Internationales Symposium der Bibliotheca Hertziana Rom 1989. Weinheim, 1989, pp. 435–436, 454 (ill.).
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Wagner, Monique. From Gaul to De Gaulle: An Outline of French Civilization. New York, 1989, p. 125; pl. 25 (ill.).
Marandel, J Patrice and Creighton Gilbert. “The Young Poussin: Letter to the Editor.” The New Criterion 7 (February 1989): 79, p. 79.
Mérot, Alain. Nicolas Poussin. New York, 1990, pp. 14, 45 (ill.), 48, 60, 277, no. 137 (ill.).
Verdi, Richard. Nicolas Poussin: Tancred and Erminia. Exe. cat. Birmingham Museums and Art Gallery and Barber Institute of Fine Arts. Birmingham, 1992, p. 207. [not in exhibition]
Rosenberg, Pierre and Louis-Antoine Prat. Nicolas Poussin 1594–1665. Exh. Cat., Galeries Nationales du Grand Palais. Paris, 1994, pp. 191–192, no. 37 (ill.).
Thuillier, Jacques. Nicolas Poussin. Paris, 1994, p. 44; p. 48 (ill.); p. 249, no. 66 (ill.); p. 279.
Zolotov, Yuri and Natalia Serebriannaïa. Nicolas Poussin: the Master of Colours, Russian Museums Collections Paintings and Drawings. St. Petersburg, 1994, p. 24 (ill.).
“Exhibitions: Nicolas Poussin.” FMR: The Magazine of Franco Maria Ricci, no. 70 (October 1994): 7, pp. 7–9 (ill.).
Stéphane Guégan, Olivier Bonfait and Dominique Brême. L’ABCdaire de Poussin. Paris, 1994, pp. 52-53.
Prosperi Valenti Rodinò, Simonetta. “A Double-Sided Sheet by Poussin.” Master Drawings 32, no. 2 (Summer 1994): 158–162, p. 161.
Beresford, Richard. A Dance to the Music of Time by Nicolas Poussin. London, 1995, pp. 33–34, fig. 28 (ill.), p. 39.
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Richard Verdi. Nicolas Poussin 1594–1665. Exh. cat., Grand Palais and Royal Academy of Arts. Paris and London, 1995, pp. 178–179, no. 19 (ill.).
Held, Jutta. "Poussins Mythosrezeption Zur Struktur seiner Ovidschen Motive." Niederdeutsche Beiträge zur Kunstgeschichte 35 (1996): 69–98, pp. 87–88 (ill.).
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Bajou, Thierry. “Deux tableaux de Nicolas Poussin pour un: ‘Vénus et Adonis dans un paysage avec un dieu fleuve et des cines qui se désaltèrent’ ou les vicissitudes d’un tableau.” Artibus et Historiae 20, no. 39 (1999): 113-125, p. 115.
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Bernstock, Judith. Poussin and French Dynastic Ideology. New York, 2000, pp. 11, pl. 2 (ill.), 35–36, 69, n. 5, 78, 80–84, 103, 129, 169–173, 189, 411, 415.
Wine, Humphrey. The Seventeenth Century Paintings. London, 2001, pp. xxi, 300, fig. 3 (ill.), 304.
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Bull, Malcolm. The Mirror of the Gods. Oxford, 2005, p. 290, fig. XIVa (ill.)
Unglaub, Jonathan. Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso. Cambridge, 2006, pp. 143, 238, note 45.
Wright, Christopher. Poussin: Paintings, a Catalogue Raisonné. London, 2007, pp. 51 (ill.), 54, 58, 84, pl. 51 (ill.), pp. 275, 287, 288, 296, 298, 300.
Brookes, Anne. “Richard Symond’s Account of his Visit to Rome in 1649–1651.” The Volume of the Walpole Society 69 (2007): 1–183, p. 146, note 636.
Rosenberg, Pierre, and Keith Christiansen. Poussin and Nature: Arcadian Visions. Exh. cat., Metropolitan Museum of Art. New York, 2008, pp. 62, 398, 401.
Thomas, Troy. “Poussin’s Philadelphia Marine Painting: New Evidence for the Neptune and Amphotrite Theory.” Aurora the Journal of the History of Art 10 (2009): 40-76, p. 76.
Smith, Ayana O. “On Tupos: Iconography and Verisimilitude in Early Arcadia.” Music in Art 34, no. ½ (Spring–Fall 2009): 7-20, p. 17.
Pierguidi, Stefano. "Fetone Chiede ad Apollo il Carro del Sole e Armida Trasporta Rinaldo di Nicolas Poussin e I Loro Possibili (non Identificati) Pendants." Jahrbuch der Berliner Museen 53 (2011): 67–71, pp. 67–69, fig.2 (ill.).
Thimann, Michael. “Zeit und Ewigkeit bei Nicolas Poussin. Zur ‘Bitte des Phaeton um den Sonnen wagen Apolls,’ in der Berliner Gemäldegalerie.” Jarbuch der Berliner Museen 55, Bd. (2013): 43-56, p. 44.
Caviglia, Susanna. “The Crisis of Narration in Eighteenth-Century French History Painting.” In Painting and Narrative in France, from Poussin to Gauguin, eds. Peter Cooke and Nina Lübbren. New York, 2016, pp. 52, 54.
Smith, Ayana O. Dreaming with Open Eyes: Opera, Aesthetics, and Perception in Arcadian Rome. Oakland, 2018, pp. 112-114, 257.
Hine, Hark. The Shape of Dreams: Five Centuries of Painted Dreams from the Divine, Mythology & the Mind. Exh. cat., Salvador Dalí Museum. St. Petersburg, pp. 74-75 (fig. 08, ill.) [with William Jeffett, Peter Tush, Shaina Harkness, Allison McCarthy and Kelsey Hallbeck].
Moscovich, Atara. "Endymion awake. The lover of the Mood goddess in Poussin's Selene and Endymion." In Fly me to the Moon: La luna nell'immaginario umano, ed. Lara Nicolini, et al. Genova, 2020, pp. 235-246; p. 236 (fig. 1).
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Nicolas Poussin, Selene and Endymion, ca. 1630, oil on canvas. Detroit Institute of Arts, Founders Society Purchase, General Membership Fund, 36.11.
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