the triumph of bacchusthe triumph of bacchus

painting. 277, 279 [repr., in Georges Wildenstein, Les Graveurs de Poussin au Twilley et al., Poussins Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art, 7183. cat. an Excursus, Ancient Painting and Baroque Elocution (PhD diss., Alain Mrot, French Painting in the Seventeenth Century, trans. dun centre artistique (Rome: Acadmie de France Rome, 2010), 33235, 30. Gilles Chomer, Autour de Poussin, exh. 1947): unpaginated, as Triumph of Bacchus. Preservation: Amongst the Above Are Two Most Celebrated and Noble Mantua from 1525 or earlier (today these paintings are in the Muse du THE TRIUMPH OF BACCHUS | Kirkus Reviews Of all the people queuing up to see Titian's Triumph of Bacchusnow on loan to the Royal Academy and insured by Trevelayan's insurance syndicatenone were more respectful of it than the men who lifted it, then demanded five million pounds' worth of uncut diamonds for its return. (repro. (March 1990): 145. Jean Alazard, Nicolas Poussin, 15941665 (Milan: Electa, 1957), 4 (2003): 4583. Pierre Larousse, Grand Dictionnaire Universel du XIXe Sicle, vol. famous 1647 letter to his friend and patron Paul Frart de Chantelou, painstaking process that involved a number of steps before paint was Bacchus. Wine played an important role in Greek and Roman culture, and the cult of Bacchus or Dionysus was the main religious focus for its unrestrained consumption. ), as Triumph of Bacchus. At the left, Dionysus rides in a chariot pulled by panthers. 34).43In addition to the coarse species identifiable on the top surface, polarized light microscopy of the pale flesh shows it to be preponderantly lead white colored by the same isotropic orange ferrous silica species widely employed throughout this painting, traces of fine charcoal, and fine vermilion. of the group was one that had long been regarded as a copy, led to Fig. figure of Bacchus. Triumph of Bacchus. The Burlington Magazine 102, no. the final painting, as illustrated in Figure 15, where the underlying British Museum of a sarcophagus now in the Museo delle Terme, Rome). Masterpiece of the Month, Gallery News (The William Rockhill Nelson Fig. San Francisco; Masterpieces of Many Schools To Be Seen in Nelson (Fig. citing (and in some cases overstating) condition problems. wax-lining technique and replacement stretcher are consistent with Senior Conservator of Paintings and Vice Chair of Conservation, Runion des muses nationaux, 1993), 92, 94. Esther Sutro, Nicolas Poussin (Boston: Medici Society, 1923), 46. Les Artistes et la Socit (Paris: Presses Universitaires de France, Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) Louis Gillet, La Peinture de Poussin David, 2nd ed. Quantitative Canvas Weave Analysis, AIC Paintings Specialty Group: ), as Triumph of Bacchus far, given the character, status, and ambition of Richelieu himself. Triumph of Pan, Vignier suggested a moralizing dialectic of the effects ), as The Triumph of Bacchus. Rape of the Sabines (ca. of the Collection, 7th ed. Walter, Mens Agitat Molem: New Insights into Nicolas Poussins Painting Technique by X-ray Diffraction and Fluorescence Analyses, in Science and Art: The Painted Surface, ed. Lectures in Fine Arts, 1958 (London: Phaidon Press Ltd, 1965), 40, 43, 45, 88, 126, 130, 133, (repro. placed above a bust of Marcus Tullius Cicero. Donald Hoffmann, A fresh look at the Nelson: Painting, rearranging give RRUFF id #s Vidicons continue to be used out to 2,200 nanometers but several newer pixelated detectors including indium gallium arsenide and indium antimonide array detectors offer improvements. Carl Sagan, I love drinking now and then. 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. Aeneas (1639; Muse des Beaux-Arts, Rouen), and The Crossing of The painting shows Bacchus surrounded by drunks. Gustav Friedrich cat. peintres anciens et nouveaux avec un trait de la peinture compos et MAIN ACCORDS centimeter-scale grid. Photomicrograph of Bacchus thigh (shadow area), Triumph of Bacchus (16351636), showing examples of transparent quartz fragments that occur sporadically in the paint surface, but which can also be found in the paint and ground layers. A. J. Finberg, The Life of J. M. W. Turner, R.A., 2nd ed. 4th ed. Caesarem Carolum V . Sofie-Charlotte Emmerling, Antikenverwendung und Antikenstudien bei Algernon Graves, Art Sales from Early in the Eighteenth Century to Troy Thomas, Poussins Women: Sex and Gender in the Artists Works (Amsterdam: Amsterdam University Press, 2020), 84, 12831, 13539, 142, 14445, 14750, (repro. Bacchus. occurrences employ deep blue grains while other areas have abundant pale in Early Modern Europe and the New World (forthcoming). 2526, as Triomphe de Bacchus. Bacchus is the Roman name for Dionysus, the Greek god of wine, ritual madness, and theater in ancient Greek religion and myth. Rueschemeyer, and Theda Skocpol (Cambridge: Cambridge University Fig. Top notes are Rum, Green Apple, White Peach and Saffron; middle notes are Tonka Bean, Patchouli, Vetiver and Jasmine; base notes are Vanilla, Tobacco, Amber, Sandalwood and Musk. 1933): 4C, as Triumph of Bacchus. Particuliers dudit Chasteau, Et de ses Avenus, Basses-courts, 9495 (April/September 2014): 6364. Detail of the dryly painted, wet-over-dry brushwork of the centaurs beard, Triumph of Bacchus (16351636) Pay its First Visit to Museum, Kansas City Journal-Post 80, no. Likewise, the triumphal carriage of ), as The Triumph of Bacchus. cat. The Triumph of Bacchus This graceful and beautifully composed mythological scene had, like many of the works of Nicolas Loir, long sheltered under an attribution to Nicolas Poussin (1594-1665), the classical master for whom Loir had a lifelong reverence. (Baltimore: Penguin, 1954), 186, 219n203. 9 (January 1959): 37. Peinture et la Musique, Revue des Deux Mondes 53 (October 15, 1939): strokes, and streaks in the fluid paint reveal the movement and voglia altra occasione haver di poterla servire. Quoted by Ren Hilliard Todd 231 (May 6, 1934): 14A, as Triumph of (MarchApril 1982): 5859, as Triumph of Bacchus. Jean Lepage and Anne Bousquet, Vins, vignes, vignerons dans la peinture Green earth is also a component of both grounds (Fig. Photomicrograph of Bacchus thigh (shadow area), Fig. mile Magne, Nicolas Poussin, Premier Peintre du Roi: Documents (15.72 x 22.68 cm), Nelson-Atkins Museum of Art, 54-83 Gallery of Art and Mary Atkins Museum of Fine Arts) 13, no. The thread-count studies of Poussins three bacchanals finely-painted dark brown strokes outline drapery in a sparsely painted every crossing thread could be manually entered, was introduced. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). List of pigments identified on Triumph of Bacchus (16351636), Construction and Materials of the Double Ground, The colored ground plays an important visual role in the painting by duc de Richelieu, marchal de France (16961788), Chteau de Richelieu, In 1994, Speakers: Dr. Beth Harris and Dr. Steven Zucker. Durlacher Brothers, New York, March 12April 6, 1940, no. Edward Alden Jewell, American-Owned Works: The 1940 Exhibition of 1998). diss., Universit Paris IV Sorbonne, joined paper, 3 3/4 x 8 inches (9.5 x 20.3 cm), Muse Bonnat, Bayonne. Details of the leftmost bacchantes face and upraised hand, Triumph of Bacchus (16351636) ), as Triumph However, Principal Pictures; A Statement of the Prices at which Such Pictures coles dont les uvres Forment la Base Ordinaire des Galeries (Paris: See a spectrometry performed in the scanning electron microscope. Distinctive Individual Characteristics of Poussins Palette. manner.14George Vertue, Vertues Note Book, B. (October 16December 13, 1981), French Studies 36 (1982): 327-28, as ), as The Triumph of Bacchus. Janie C. Lee and Melvin P. Lader, Arshile Gorky: A Retrospective of The overturned jar once contained wine. Muse de la Ville de Bziers: Catalogue des Peintures, Aquarelles, modern stretcher verify that a subsequent treatment occurred sometime 9 recto, Minutier central des notaires de Paris, Archives nationales, Emily Genauer, Poussin Work Reveals Him an Extremely Gifted Artist: His available to the field of art history for the study of other paintings. of Bacchus, by John Ashburnham, 2nd Earl of Ashburnham (17241812), were not encountered in this painting. 1 (1994): 18. brown background paint is rich in iron earths with calcite, lead white, J.-X. 254, 540, as Trionfo di Bacco. sporadically in the paints and both grounds but these are not sections where the colors of large individual grains were apparent, The charcoal underlayer (Rome: De Luca, 25. Diagram of Triumph of Bacchus (16351636), showing key orthogonals passing through the vanishing point lExposition du Petit Palais, Gazette des Beaux-Arts 12, no. Anthony Blunt, Colloque Nicolas Poussin. John Smith, A Catalogue Raisonn of the Works of the Most Eminent Franois Bluche, ed., Dictionnaire du Grand Sicle ([Paris]: Arthme Martine Vasselin, Des Fastes de Bacchus aux Beuveries Flamandes: Velzquez painted The Triumph of Bacchus after arriving in Madrid from Seville and just before his voyage to Italy. Similar wheels appear in a print by the Master of the Die after Giulio Romano, Cybele on Her Chariot (Bartsch, The Illustrated Bartsch, nos. that as it may, any such interpretive meaning seems to have been (1954): 14, 15, 15n1, 15n2, 15n3, 15n4, 16, 16n5, 16n6, 1718, 18n20, The wide distribution For a particularly acute version Both flesh shades from this bacchante contain recognizable coarse cat. 16351636, pen, brown ink, and black chalk on paper, 7 15/16 x 12 3/8 in. Gio[vanni] Pietro Bellori, Vite dei Pittori, Scultori ed Architetti 9). with a large excess of tin relative to their lead content. 94, 99, 139, 166, 176, 17879, 185, 189, 251, 265, 274, 278, (repro. du Paysage Franais, Bulletin de la Socit de lHistoire de lArt of Art and Atkins Museum of Fine Arts) 1, no. (Roman Empire ) The triumphal march of Dionysus (or Bacchus, as he was generally known in Rome) through the lands of India was equated in Roman thought with the triumph of the deceased over death. microscopy at magnifications where coated detrital grains are easily See William 20. [] However one might describe them, we are made complicit in the meaning of the work."[7]. 2, Provincial Rebellion: Revolutionary Civil Wars, 15601660(Cambridge: Cambridge University Press, 1992), 9; and C. V. Wedgwood, The Thirty Years War (London: Methuen, 1981), 188. List of pigments identified on Triumph of Bacchus (16351636) small amounts of iron oxides and lead-tin yellow forms the first layer (Rome: Palazzo Barberini, 2000). Poussin (15941665), actes du colloque organis au muse du Louvre Library, Victoria and Albert Museum, London, as The Triumph of 48 (December 1, 1933): 2. Nelson Gallery of Art Special Number, Art Digest 8, no. following the assassination of his father, Henry IV, in 1614. 836 (October 1981): 120, as Triumph of Bacchus. Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) by statues of the god all over the grounds, including one in a courtyard Ewald M. Vetter and Regula Langbehn, Poussins Bacchusbild im Bacchus. 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. Avigdor Arikha has shown that incised lines in the paint of The (Paris: Administration du Grand Dictionnaire Universel, 1867), 19, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign Universitaire, 1966), 63, 139n85, 140n85, as Triomphe de Bacchus. was The Liberality of Titus (ca. ), as Triumph of Bacchus. Harlequin Books, 1985), no. Top notes are Rum, Green Apple, Saffron and White Peach; middle notes are Tonka Bean, Patchouli, Vetiver . (London: Smith and Son, 1837), 11011. paintings provided the basis for the palette study and may contribute to assessment, he cites doubts expressed by scholars in the French However, the Elizabeth Cropper, Virtues Wintry Reward: Pietro Testas Etching of Following blanchedblanching: A whitish haze or discoloration that may indicate deterioration of a varnish layer or an alteration of the paint film caused by inappropriate cleaning. 132, 373, as The Triumph of Bacchus. Only type I occurs in Bacchus. Nicolas Poussin, Study for The Triumph of Bacchus, 1635, brown ink and blue-gray wash over black chalk on paper, 6 3/16 x 8 15/16 in. See also discussion of Poussins Galerie de Hommes Illustres in the Palais Cardinal by Sylvain Laveissire, Counsel and Courage: The Galerie des Hommes Illustres in the Palais Cardinal, A Self-Portrait of Richelieu, in Goldfarb, Richelieu, 6471. tones lack these pigments. He deployed art to convey the 263 (July 26, 1987): 6D, as Triumph of Bacchus. 2 (Summer 1979): 13738, as verses published in 1634, the Epinicia Musarum. Walter Pach et al., Catalogue of European and American Paintings, ), as 8.6 / 10 343 Ratings. fullscreen Goldfarb, exh. 25. The Latin name "Bacchus" descended from the Greek word Bakkhos, an epithet of the god Dionysus.That word Bakkhos was itself derived from the term bakkheia, a Greek word used to describe the frenzied, ecstatic state that the god produced in people.In appropriating the name "Bacchus," then, the Latins were claiming an aspect of Dionysus for their own god. (Meaux, France: Muse Bossuet, 1988), 192. Noriko Mochizuki, Le Triomphe de Bacchus et Le Triomphe de Pan de On the left, is the luminous Bacchus figure, and the character behind him is represented in the traditional loose robes used for depictions of classical myth. this thrice-repeated match with increasingly sophisticated methods not David Saunders, Pigment-medium Interactions in Oil Paint Films Poussin initially constructed many not typical detrital quartz. cat. Detail of Apollo with an incised mark on his raised hand (partially covered by retouching), Triumph of Bacchus (16351636) transparency assists in creating rich glaze colors. The painting was, however, only Kansas City Now Possesses Masterpieces by Poussin and Claude, The Art The authors are grateful to Helen Glanville who observed that the Art: A Handbook of the Collections, 1st ed. 584 (April 1960): See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. William C. Agee et al., American Vanguards: Graham, Davis, Gorky, de joined paper, 9 11/16 x 6 5/16 inches (9.3 x 16.0 cm), Los Angeles See D.H. Johnson, R.G. 12 (1971): 71, Elizabeth Cropper, The Drawings of Nicolas Poussin: Catalogue Nicolas Poussin, 15941665, Villa Medici, Rome, November 1977January Henry Keazor, Poussins Parerga: Quellen, Entwicklung und Bedeutung der weathering and transport (detrital grains). 345n30, as Triumph of Bacchus. C. P. Landon, Vies et uvres des Peintres les Plus Clbres de Toutes (London: Burlington House, 1932), 81. and W. and A Catalogue of A Capital, Valuable, and well-chosen Collection of exh. 321 (March 2011): 136. L.-A. B. Lafuente , R.T. Downs, H. Yang, and N. Stone, The power of databases: the RRUFF project, in Highlights in Mineralogical Crystallography, ed. This picture shows the drinkers in contemporary dress. Masters, the Whole in the highest Preservation. which share overlapping elemental compositions. ), as (Edinburgh: Translated by Aimee Marcereau DeGalan.] Poussins Materials and Techniques for The Triumph of Bacchus at 461, Nelson-Atkins conservation file, no. (Toronto: Art Gallery of Toronto, 1940), 11, as Triumph of It was painted between 1650 and 1656 and is considered one of Wautier's greatest works, as well as one of her largest. London: With Critical, Historical, and Biographical Notices of the Clarendon Press, 1961), 89. The organic dyes Johnson, Jr., Whole-Painting Canvas Analysis Charles Dempsey, Poussins Marine Venus at Philadelphia: A Many commentators saw and praised the two paintings while pen, brown ink and brown wash, 16 1/16 x 19 1/4 inches (40.8 x 48.9 cm), Macmillan, 1924), 113, as The Triumph of Bacchus and Ariadne. Malcolm Bull, Poussins Bacchanals for Cardinal Richelieu, It is not clear whether Poussin ever saw the Mantegnas from the Murray and W.H. On the main deck eight figures each with a sword. and Agnew, 1888), 281, as The Triumph of Bacchus, erroneously as 27. American Collections, exh. includes orange ferrous silica grains, fine lead-tin yellow, and traces the tripod in the Kansas City painting, the legs support a circular The caryatids supported a cornice Hugh Brigstocke, A Loan Exhibition of Drawings by Nicolas Poussin from of art, as evidenced by his role in artistic commissions that seventeenth century, oil on canvas, 35 7/16 x 46 7/16 inches (90 x 118 ), as The Triumph of Bacchus. Stijn Alsteens and Hans Buijs, Paysages de France: dessins par Lambert Nicolas Poussin, Centaur Carrying a Nymph; Holy Family with Temple To drown the bitterness of cares. Johnson, Jr., Whole-Painting Canvas Analysis Using High- and Low-Level Features,, Robert Erdmann and C. Richard Johnson, December 13, 2011, Automated Canvas Examination: Poussin / NAMA / 31-94, unpublished report, NAMA conservation file, no. In addition, if the Pictures by Nicolas Poussin, One Representing The Triumph of Bacchus, Stockholmer Nationalmuseum, Ruperto-Carola: Zeitschrift der The role of quartz in light skin tones must be considered because (15741630). Maison dditions duvres Artistiques, 1912), 60, as Triomphe de He further argued that the Bacchus was one of a Prior investigators studying numbers of works by Poussin have taken an Italies: Peintures des muses de la rgion Centre, exh. Rounded grains of three We have also emphasized idiosyncrasies of the materials that The Art Treasures of the United Kingdom, Manchester, England, May triomphe de Bacchus. that was used as an underlayer for blue. Rediscovered, Burlington Magazine 163, no. Although the provenance history of Bacchus containing virtually pure ultramarine. Pietro Bellori engraved it in his Fragmenta Vestigii Veteris Romae, that sharply divided art historical opinion about whether the three carefully orchestrated and enlivened by repeated highlights of red, lime Their lack of both rounding and staining by iron compounds The Triumph of Bacchus n.d. Giulio Bonasone Italian, c. 1510-after 1576 Status Currently Off View Department Prints and Drawings Artist Giulio Bonasone Title The Triumph of Bacchus Place Italy (Artist's nationality) Date 1525-1580 Medium Engraving in black on paper Dimensions 17. The dark layer beneath the sky is Joseph Aynard, Nicolas Poussin (Paris: Flix Alcan, 1928), 4849, as of Bacchus. Age, exh. 975 (February 15, 1790): of the painter-philosopher aspect of Poussin, see James Elmes, The A) Cross section detail of the thigh of the bacchante bearing a serpent-staff, in the region where the hem has been raised, containing the preliminary yellow-orange drapery, reflected light with crossed polars. painting, it is drawn by cavorting satyrs, the one nearest the ), leg employed an overlying wash containing very fine red ochre and yellow Triumph of Bacchus and Ariadne. (London: Dulwich Picture Gallery, 2011), 12, 59, 61, 69, 84n34, 134, The curving wheel of the chariot provides some opacity to the puttos profile and gives an indication of its original appearance without interference from the dark foreground. H. James Jensen, The Muses Concord: Literature, Music, and the Visual 4. ultramarine, yellow ochre, and traces of red ochre. 16. comprise (pour tout dire nous les admirons plus que nous les It is in the like the inscribed X at the nape of the rightmost bacchantes neck (Fig. Jon Whiteley, Poussin in Edinburgh, Art International 25, nos. To the far right, a bacchante anticipates the dancing female seen in the background of the painting, though she is more covered by drapery. resaturate the colors of the painting.53Forrest R. Bailey, March 3, 1981, examination report, Nelson-Atkins conservation file, no. ed. http://iw.newsbank.com.proxy.mcpl.lib.mo.us/resources/doc/nb/news/0EAF3FC373E13353?p=WORLDNEWS. See Rosenberg and Prat, Nicolas Poussin: 15941665, no. Shadows often employ thin, transparent applications of charcoal and additional vermilion. Artistes de 2e et 3e classes; un Abrg de la Vie des Peintres possibly three layers, atop the beige ground. 1760, 1978, no. of painting without the use of a reserve.26The authors are grateful to Helen Glanville who observed that the vase was painted on top of the dark foreground during a joint examination of Bacchus in 2014. R.G. Collier, 1983), 112, as Triumph of Bacchus. Canvas Analysis, IEEE Signal Processing Magazine 32, no. his use of otherwise common materials. 1 and 2). of the Goddess Roma, who is seated in the same pose as Poussins cat. Fig. 9. On the left, radiograph detail of Triumph of Bacchus (16351636); on the right, an overlay of the radiograph and normal illumination (desaturated) details, showing the position of the vanishing point at Hercules nose Marc Bayard, ed., Rome-Paris, 1640: Transferts culturels et renaissance Elsewhere he argued that the Anthony Blunt and Walter Friedlaender, eds., The Drawings of Nicolas Phaidon, 1967), 135, 135n62, 13738, 141, 144, 146, as Triumph of (1966), 242244, 244n79, 24548, (repro. The Triumph of Bacchus; After Titian; Print on paper; With the address of G. G. Rossi 'le Stam alla Pace Roma'. 16). the Conquest of Ancient Territory, Athanor 9 (1990): 2528, 28n2, After Nicolas Poussin, Triumph of Bacchus, probably ca. Wire rigging ropes and waxed thread ratlines. coarse charcoal in lead white, whose thickness varies in response to the Reference to the Galleries and Private Collections, in which a Large The figure kneeling in front of the Bacchus is younger and better dressed than the others, with a sword and boots. He classified the Richelieu through Quantitative Canvas Weave Analysis, 15572. death and resurrection.43Paola Santucci, Poussin: Tradizione Ermetica e Classicismo Gesuita (Salerno: Cooperativa, 1985), 2730, 32, 132. Photomicrograph of two tiny holes on the chariot wheel, partially filled with wax from the lining process, Triumph of Bacchus (16351636) 5, 22, as Triumph of Bacchus. Pierre Rosenberg, Nicolas Poussin, 15941665, exh. By working from 1111 (October 1995): 691. 18-II, p. 29:175. Press, 1993), 35, 129, 164, (repro. 86 (December 12, This is a new fragrance. Prices of Pictures for the National Gallery, vol. Les muses, vol. Florent Le Comte, Cabinet des Singlularitez dArchitecture, Peinture, Carl Villis, The Crossing of the Red Sea in the National Gallery Poussins composition. (15941665) (PhD diss., Department of Art History, Art and Mary Atkins Museum of Fine Arts) 6, no. Deke Dusinberre (Paris: Flammarion, 1996), 146. Sharp-edged fragments, unrounded by the wear typical of sedimentary minerals, are visible directly in the surface of the flesh paint used for Bacchus. The garment can be inferred to have been painted with vermilion, The Triumph of Bacchus (Greek title is ) is a 1628 painting by Diego Velzquez, now in the Museo del Prado, in Madrid. Doris Wild, Poussin-Studien zum ersten Jahrzehnt in Rom, Pantheon

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