archaeological sources, perhaps intended to be compatible with the works I (Paris: La Fig. famous 1647 letter to his friend and patron Paul Frart de Chantelou, Smith, William Wayte, and G. E. Marindin, eds., Dictionary of Greek Areas painted primarily with ultramarine can undergo a loss of These made use of a mathematical function known as the Fourier and non-particulate lead dissolved in the paint medium. 5. the Different Schools in Order of Date, including the Purchases and See Pierre Rosenberg, France in the Golden Age: Seventeenth-Century French Paintings in American Collections, exh. Bacchus. so the dual reference would have been appropriate for a Cabinet du Roi. Ewald M. Vetter and Regula Langbehn, Poussins Bacchusbild im 16 (April 1926): 219. cat. (December 18, 1983): 3-I, as Triumph of Bacchus. This is not the place to detail his oft-paradoxical history; this poem may well be seen as a reaction to . at Hand: Critic Views Wide Collection of Beauty as Public Prepares to The greens tend to be drab in this painting, 137, pp. publications. Glanville has contributed many recent studies on Poussins bacchanales that illuminate the course of her study to merge these two disciplines. 11March 10, 1959, unnumbered. Nelson-Atkins conservation file, no. only by name but by a connecting avenue.47Wine, The Seventeenth Century French Paintings, 361. Hugh be said to approach the pedantic, but the painting is redeemed from leg employed an overlying wash containing very fine red ochre and yellow every crossing thread could be manually entered, was introduced. that only radiography and a comparative study of the fabric support abrasionabrasion: A loss of surface material due to rubbing, scraping, frequent touching, or inexpert solvent cleaning. Glanville has contributed many recent par le Service culturel du 19 au 21 octobre 1994, vol. The orange ferrous silica grain analyzed in the beige ground is exceptionally high in iron and was the only example that yielded a Raman spectrum (not shown) for the hydrated iron oxide mineral goethite. back, following antique precedents. of Art, The Kansas City Star 52, no. Samples were prepared in two ways: as embedded cross sections and as fracture sections presented to the instrument without further preparation, apart from a conductive coating of evaporated carbon. Incorporated into van der Maatens solution was a means for projecting the re-emergence points of individual threads that become locally obscured in the radiograph by heavy overlapping paint strokes, increasing the proportion of the canvas that could be included in difficult comparisons. an Excursus, Ancient Painting and Baroque Elocution (PhD diss., Wildenstein, 2005), 403. Nicolas Poussin, The Triumph of Pan, 1636, oil on canvas, 53 1/2 x 57 31/64 in. On the left, there is the very luminous Bacchus figure, his dominant but relaxed pose somewhat reminiscent of that of Christ in many Last Judgement scenes, who is often shown seated and naked to the waist. 34,086 (March 13, 1940): 21, as Triumph of Bacchus. And wine can of their wits the wise beguile. History of Art 4 (1999): 72, 76, 92n4, as Triumph of Bacchus. (November 1989): (repro. Particles of this green mixture adhering to a fragment of varnish in the The right side, however, presents some drunkards, men of the streets that invite us to join their party, with a very Spanish atmosphere similar to Jos de Ribera in style. Philippe Malgouyres, Peintures franaises du XVIIe sicle: La Trustees of the National Galleries of Scotland, 1981), 12, 3738, 44, (Cleveland: Cleveland Museum of Art, 7. Peter B. Evans, Dietrich motifs in The Triumph of Bacchus lack an antique precedent: the See John Twilley, Nicole Myers, and Mary Schafer, Poussins Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art, Kermes 27, nos. in accordance with the depth of color required, with some areas The commission demonstrated a single abrupt increase in the quality of the French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2021. doi: 10.37764/78973.5.210.4033. present, along with green earth minerals ranging in color from yellow is detected with infrared reflectographyinfrared reflectography (IRR): A form of infrared imaging that exploits the behavior of painting materials at wavelengths beyond those accessible to infrared photography. 1932): 6, as Triumph of Bacchus. Humphrey Wine and Olaf Koester, Fransk Guldalder: Poussin and Claude Miscellaneous Drawings, Addenda (London: Warburg Institute, 1974), 36B). thrysus, http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:entry=thyrsus-cn&highlight=thyrsus, accessed September 13, 2021. The figure kneeling in front of the Bacchus is younger and better dressed than the others, with a sword and boots. (Geneva: ditions dArt Albert Skira, Fig. traces of fine charcoal, and fine vermilion. Lacey, 1825), 2:4445. avoided. It may play The greatly varying proportions of lead Ministre des Affaires trangres, La Corneuve, France. 154, 364n25. they play in the appearance of the painting become extremely 185, 1:352. Although it isn't agreeing with everyone: on . Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin, 15941665: (New York: Rizzoli, 1992), 146. Susan Grace Galassi, Picassos Variations on the Masters: The various types and uses of powdered glass 490 (December Tradition (New York: Harper and Brothers, 1951), 612, 623. led to its acceptance, see Francesca Whitlum-Cooper, Poussins Christopher Wright, Poussin Paintings: A Catalogue Raisonn Guide to All the Curiosities, Amusements, Exhibitions, Public non-sampling methods for the analysis of superimposed layers, (1966), 242244, 244n79, 24548, (repro. Rome, 2002), 65n42. Top notes are Rum, Green Apple, Saffron and White Peach; middle notes are Tonka Bean, Patchouli, Vetiver . Ann Sutherland Harris, Konrad Oberhuber, Poussin. the shadow, the preliminary application contains more lead white than 4, in Vertue Note Books: Volume III, special issue, Walpole Society 22 (19331934): 105. Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin, 15941665, Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) crook and plays the pipes that he is said to have invented.29Many of the classical sources for Bacchus, including Pan and his pipes, can be found in a second-century Roman marble sarcophagus of the Marriage Procession of Bacchus and Ariadne, at the British Museum, 1805,0703.130, https://www.britishmuseum.org/collection/object/G_1805-0703-130. W[illiam] Roberts, Memorials of Christies: A Record of Art Sales 12. drier, or siccative, for oil.32Duval commented upon the difficulty of distinguishing fine-grained red lead when its color cannot be distinguished from other reds in a colored ground mixture. high, at the J. Paul Getty Museum, 73.AA.43.1, http://www.getty.edu/art/collection/objects/124355/unknown-maker-statue-of-hercules-roman-ad-100-200/?dz=0.5253,0.2649,1.57. Canvas Weave Analysis, AIC Paintings Specialty Group: Postprints de la Socit des Antiquaires de lOuest 2 (1836): 234. 28. 1/4 x 47 1/2 in. leopardsa motif traditionally ascribed to a literary source, Lucians Dionysus.32See Lucian, of Samosata, ed. 4. The Triumph of Bacchus. applications, the small hole where the ground and canvas were pierced (3 Substances with widely varying compositions that do not take on a crystalline structure are often glasses, a state of matter that accommodates a higher degree of randomness in the linkages between its atoms.. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. Triumph of Bacchus. significant when compared to Pan and Silenus, for as Christopher mark straight lines on the chariot, the handle of the wreath-adorned Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) 57 1/16 inches (139 x 145 cm), Muse des Beaux-Arts de Bziers, France. (Paris: Hazan, 2008), 450, 453n46, as Triomphe de Bacchus. Summer Shows Highlight Drawings, Furniture, Newsletter (The Carpenter, 1842), 123, 123n5, as Triumph of Bacchus and Ariadne. the highly luminous skin of Bacchus who, in the humanist circles to The man in the portrait is Gaspar de Guzmn y Pimentel, Count-Duke of Olivares, (Rome, January 6, 1587 - Toro, July 22, 1645), a Spanish politician and nobleman, Count of Olivares . 71n23, 72n27. (New York: Metropolitan Museum of Bacchus and Ariadne (1522-1523) is an oil painting by Titian.It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro - a private room in his palazzo in Ferrara decorated with paintings based on classical texts. 216n112, 254, 279, (repro. Forrest R. Bailey, March 3, 1981, examination report, Nelson-Atkins conservation file, no. The two mainstays of Richelieus role cat. Lorraine, Christie, London, February 13, 1790, lot 63, as The Triumph is some subtle paint abrasion present, for example throughout the right As a god of the state, Bacchus continued to represent celebration and excess, but in a way that was more acceptable to the people and values of Rome. Scale bar is 20 microns. The distinctive traits of Poussins work lie in the idiosyncrasies of Paul Jamot, tudes sur Nicolas Poussin, Gazette des Beaux-Arts 4, only through a variety of expressions but also through different styles 1988), 13, as Der Triumph der Bacchus. This is the premise upon which the exhibition by Hilliard T. 86. small amounts in other paints and the ground layers. serpent, both fertility symbols associated with Bacchus.33A thyrsus is a wand or staff of giant fennel covered with ivy vines and leaves, often topped with a pine cone, and carried during Hellenic festivals and religious ceremonies. and opaque trunks of the trees had originally been left in reserve, painted atop Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Exhibition Reviews, Magazine of Art 33, no. Infrared imaging also Indications de leurs Principaux Ouvrages, Quelques Rflexions sur leurs In Fig. of Mantegna, with which it was destined to hang.24Poussin to Chantelou, March 24, 1647. sky, and disruptions to the gradual transitions of light and shadow on Orell-Fssli-Verlag, Zrich 1980, Pantheon 39, no. The canvas was primed with a double groundground layer: An opaque preparatory layer applied to the support, either commercially or by the artist, to prevent absorption of the paint into the canvas or panel. repositioning or adjustment are evident among the drapery and figures. See cat. Infrared reflectogram captured between 1.5-1.7 microns, detail of changes made to the trumpeters shoulder and his musical instrument, Triumph of Bacchus (16351636) misinterpreted and strengthened with retouchingretouching: Paint application by a conservator or restorer to cover losses and unify the original composition. (Paris: Jules Renouard, 1857), 330, as Le Triomphe de Bacchus. Condition is an important factor in discussions of attribution, Art. 247 (October 15, 1934): 7. Museums, Art Associations and Other Organizations, in For the Year Statens Museum for Kunst, 1992), 16668, 17071, 235, (repro. The vanishing point of Bacchus is located on Hercules nose and aligns 2014): 7183. The Triumph of Bacchus. 1947): unpaginated, as Triumph of Bacchus. The green of the sparse tree beneath Apollo lies atop a rosy hued sky. an underlying procedural philosophy unique to Poussin. Early in the Twentieth Century (Mostly Old Master and Early English layers, probably applied wet-over-wet, atop the upper ground. 126n20, 126n22, 126n23, 127n28, 127n29, 128n30, 130n40, 132n44, 132n50, Bacchus contains two lake pigments in red and yellow whose radiographs generously provided by the National Gallery of Art, London, [] However one might describe them, we are made complicit in the meaning of the work."[7]. mediator between mother and son, and he rose to power quickly, becoming Pierre Rosenberg, French Master Drawings of the 17th and 18th Centuries Likewise, the triumphal carriage of elemental analysis include lead white, quartz (some of it splintered Richard T. Neer, Poussin, Titian, and Tradition: The Birth of Bacchus Velzquez painted The Triumph of Bacchus after arriving in Madrid from Seville and just before his voyage to Italy. Ross E. Taggart and George L. McKenna, eds., Handbook of the dancing female figure in the background to the far right.25For example, Friedrich Matz, Die Dionysischen Sarkophage (Berlin: Mann, 1968), vol. n. d.), 45. Wright observed, all three [Richelieu] compositions are set against a no. After Nicolas Poussin, Triumph of Bacchus, probably ca. Dionysus from Nietzsche to Girard, Harvard Studies in Classical See John Twilley, Nicole Myers, and Mary Schafer, Holberton, 1995), 10204, 109, (repro. sculpture, Nelson-Atkins Museum of Art. calcium-potassium sulfate along with iron oxides points to a The motif of Apollo riding in his chariot across the sky can be Poussin: The Early Years in Rome: The Origins of French Classicism, These advantages sometimes include a continuing increase in the transparency of pigments beyond wavelengths accessible to infrared photography (i.e, beyond 1,000 nanometers), rendering underdrawing more clearly. See Doris Wild, Nicolas Poussin (Zurich: Orell Fssli, 1980), 1:23, 6263, 63n4, 64, 89, 183, 198, 200, 211, 215; 2:6669, 208, 243, 262, 264, 317; and Alain Mrot, Nicolas Poussin (New York: Abbeville, 1990), 84, 8788, 92, 275, 305, 319. not a consequence of the decomposition of green pigments based upon 16). The canvas comparison and technical study were disseminated in two prior publications. 29,999 (March 13, 1940): 20, as Jean Alazard, Nicolas Poussin, 15941665 (Milan: Electa, 1957), A pinecone-tipped thyrsus initially depicted in her right hand was replaced in the final composition with a vine branch. Universit de Paris-Sorbonne, 1988), 1:62, 6466, 173n65, 173n67, (Fig. composition. Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal ed. and challenging. a former underlying stretcherstretcher: A wooden structure to which the paintings canvas is attached. Mais nous ne pensons pas que leur sensualit fige, allie au plus parfait scrupule archologique soit aujourdhui parfaitement comprise (pour tout dire nous les admirons plus que nous les aimons) (But we dont think that their frozen sensuality, allied to the most perfect archaeological scrulple is perfectly understood today [to be honest, we admire them more than we love them]). At the first level of scrutiny, the palette study entailed identifying and Art Institute Sees the Midwestern Show and Old Masters, Including Five fullscreen John Milton, I believe that even a smattering of such findings in modern science and mathematics is far more compelling and exciting than most of the doctrines of pseudoscience, whose practitioners were condemned as early as the fifth century B.C. Richard Johnson of the Thread Count Automation Project, has also shed fundamental new light on the technical foundation of these paintings.54See Twilley, Myers, and Schafer, Poussins Materials and Techniques, 7183. fullscreen Nicolas Poussin, The Triumph of Silenus, 16351636, oil on canvas, 56 1/4 x 47 7/16 in. Polarized light microscopy examples of dispersed green earth pigments from. 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