Artwork
The Assumption of the Virgin
The Assumption of the Virgin is an oil painting by the Baroque artist Nicolas Poussin. It dates from 1631 and is held in the collection of the National Gallery of Art.
About this work
Subject & Meaning
The subject matter aligns with the doctrinal belief in Mary's unique status, presenting her elevation as a moment of spiritual triumph.
Nicolas Poussin's 1630 oil painting depicts the Assumption of the Virgin Mary, a central event in Catholic theology where the Virgin is taken body and soul into heaven. Classified as a religious work, the composition focuses entirely on this miraculous ascent, serving as a visual representation of divine glory and the promise of resurrection. The subject matter aligns with the doctrinal belief in Mary's unique status, presenting her elevation as a moment of spiritual triumph.
By rendering this specific biblical narrative, the artwork functions as a devotional object intended to inspire contemplation on heavenly reward and the intercessory power of the Virgin.
Technique & Style
The Assumption of the Virgin is painted in oil on canvas, the support recorded as a rectangular format measuring 134.4 cm in height by 98.1 cm in width. The material consists of oil pigments applied to a primed canvas, consistent with the medium listed for the work. The painting’s handling is documented through a chain of owners from the Giustiniani collection in Rome to its acquisition by the National Gallery of Art in Washington, D.C..
No condition problems are noted in the sources, and the composition reflects Poussin’s classical approach to figure arrangement and spatial clarity, though detailed stylistic description is not provided in the available documentation.
History & Provenance
The Assumption of the Virgin is generally dated to 1630 and may have been commissioned by Vincenzo Giustiniani, whose posthumous 1638 inventory likely records the work.
By 1750 the painting belonged to Conte Niccolò Soderini in Rome and was sold on 20 September 1764 for 500 crowns through the dealer James Byres to Brownlow Cecil, 9th Earl of Exeter. It remained at Burghley House through successive generations, passing to the 10th Earl, the 2nd Marquess, the 3rd Marquess, the 4th Marquess, the 5th Marquess, and the 6th Marquess, before being sold in 1962 to Wildenstein & Co. The following year it was acquired by the National Gallery of Art, Washington, D.C.
The painting is held by the National Gallery of Art, Washington, D.C., where it is recorded as accession number 1963.10.1. It was acquired in 1963 from Wildenstein & Co., who had purchased it in 1962 from the 6th Marquess of Exeter’s collection at Burghley House, England. Earlier, it had formed part of the Roman Giustiniani collection by 1638 and remained in the Palazzo Giustiniani until at least 1688 before passing through Conte Niccolò Soderini to the Earls of Exeter at Burghley House by 1750.
Legacy
The Assumption of the Virgin (1630) by Nicolas Poussin entered the National Gallery of Art in Washington, D.C., after being sold by Wildenstein & Co. in 1962 and acquired by the museum the following year. Its earlier ownership by members of the Cecil family, documented from the 1760s through the 19th century, reflects a continuous provenance that has contributed to its esteemed reputation among collectors and scholars. The painting’s presence in a major public collection and frequent citation in art‑historical literature underscore its lasting influence on the study of Baroque religious art.
Overview
Nicolas Poussin's oil on canvas painting, The Assumption of the Virgin, dates to approximately 1631. This religious work illustrates the moment Mary ascends to heaven, a central event in Christian tradition. The composition captures the Virgin Mary's upward movement, observed by a gathering of saints and celestial beings below, rendered with Poussin's characteristic classical restraint and precision.
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