When Spring left the studio of Nicolas Poussin in 1662, it completed a remarkable cycle: four canvases, each capturing a season, commissioned by the Duc de Richelieu for his Parisian palace. The series quickly became one of the most coveted treasures of the French aristocracy, so much so that, within decades, the paintings were separated and scattered across collections in Europe. This dispersal has fueled centuries of debate among collectors and scholars, who have tracked the journeys of each season with almost detective-like zeal. In Spring, Poussin chooses the moment of Eden before the Fall, a vision of innocence and harmony.

Adam and Eve stand amid lush vegetation, their gestures gentle and unhurried, as if time itself is suspended. The light falls softly on their bodies, illuminating the abundance of flowers and fruit—a sign of nature’s generosity and the world’s freshness at its dawn. The presence of animals, peacefully grazing, underscores this harmony, while the distant river hints at the life-giving force of water.

Unlike Jan Brueghel the Elder’s bustling, intricate Edens, Poussin opts for clarity and order, guiding the eye with classical restraint rather than overwhelming detail. The fate of Spring has mirrored the tumult of European collecting: after its creation, it passed through several illustrious hands, including the French royal collection, before eventually finding a home in the Louvre. The cycle’s fame cemented Poussin’s reputation as a master of allegory and narrative, influencing generations of painters who sought to marry classical ideals with natural observation. Today, Spring stands not only as a testament to Poussin’s vision, but also as a witness to the shifting tides of taste and power that have shaped the history of art collecting.