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“... to one another’s conjectures about the meaning of the artist’s mature paintings. It is to Alain Mérot’s credit that he is drawn into neither debate. Resisting the temptation to produce yet another catalogue raisonné, Mérot contents himself with an inclusive thematic catalogue and an admirably balanced text ...”

“... in the Académie de Peinture, also concentrated on the Poussin of the 1640s. But (as the essays by Alain Mérot and Carl Goldstein in the French catalogue remind us) the theories they propagated in his name had only slender roots in the thinking of the artist himself. In the Academy’s discussions, Poussin’s paintings suffered the fate of all canonical ...”