Abstract
Poussin is famous for being an intellectually reflective artist. Yet his Tancred and Erminia reveals a painted reflection of the most literal kind: a concealed portrait. I situate this illusion in the context of reflections in art history and of mirroring in the art of Caravaggio, to which Poussin's art was often opposed. Could the face in Poussin's painting, reflecting someone beyond the space of representation, be that of the artist himself? Considering Poussin's life circumstances when he painted this scene from Tasso, the reflected portrait underscores how his works, always eloquent, were poetically self-referential as well.
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