Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) 13 (Paris: Administration du Grand Dictionnaire Universel, 1875), 1213, cat. RRUFF id #s R040069 and R070059, respectively, https://rruff.info/about/about_general.php (accessed 9-18-21). 910 (January 1979): 13, 16, as Triumph of Bacchus. 14. and French Painting of the Seventeenth Century, exh. Civil, Religieux et Artistique (Tours: L. Pricat, 1890), 19596, David Saunders, Pigment-medium Interactions in Oil Paint Films sparkling reflections. to green to aquamarine, some of them highly birefringent and others Lorraine, Christie, London, February 13, 1790, lot 63, as The Triumph Unusually, the rest of the group, apart from the figure naked to the waist behind the god, are in the contemporary costume of poor people in 17th-century Spain. contains potassium iron silicate with very little magnesium, and another When the originals appeared in Samuel Pariss 2 (March A) Fine-grained agglomerate of a strongly birefringent aquamarine type from the surface of the wreath leaf, partially crossed polars, 200x. hydroxides.50The undetected presence of any light elements outside the range of our analysis methods would not suffice to identify the grains as any other known mineral type. ), as The Triumph of Bacchus. 22. higher-level comparison was not undertaken. layers, probably applied wet-over-wet, atop the upper ground. 39, 47, 108, 115, 126. Helen Glanville, De lumine et umbratheory and practice, and Veronika Birke (New York: Abaris Books, 1982), 29:187. A man perpetually in the paroxysm and fears of inebriety is like a half-drowned stupid wretch condemned to labor unceasingly in water, but a now-and-then tribute to Bacchus is like the cold bath, bracing and invigorating. The cupid pipes, can be found in a second-century Roman marble sarcophagus of 137, pp. 2C, as Triumph of Bacchus. 4, in Vertue Note Books: Volume III, special issue, Anthony Blunt, French Seventeenth-Century Painting: The Literature of the Last Ten Years,. This essay is included with Kennedys permission. into elements that not only create the illusion of 222 (March 2011): 82. 17. lake. In this painting of the lovers Ariadne is shown as reclining, hand on head, wistful longing in her eyes, whilst Bacchus is shown as an almost arrogant, impatient youth who cannot understand why she should be so distressed. the lead-tin yellow compound as a prerequisite to soap formations. Fig. Fig. The Triumph of Bacchus Nicolas Poussin Date: 1636 Style: Classicism Genre: mythological painting Media: oil, canvas Order Oil Painting reproduction Court Mtrage Short Films Added: 21 Dec, 2020 Brotherhood [2018] Directed by: Meryam Joobeur Written by: Meryam Joobeur Produced by: Maria Gracia Turgeon, Habib Attia His pose derives from a Gaspard de Daillon to Cardinal Richelieu, 16361637, Mmoires et 25, Det sketchbook, October 2009, in David Blayney Brown (ed. The uptake of this uncombined lead oxide to form lead-fatty acid soaps inside the agglomerates represents an easier path to their formation than a mechanism requiring the breakdown of the lead-tin yellow compound as a prerequisite to soap formations. Hapsburg Dynasty, which ruled in Austria and Spain, in check.6Peter Zagorin, Rebels and Rulers: 15001660, vol. Hilliard T. Goldfarb, Richelieu et lart de son temps: Raison dtat et black pigments, including several forms of hydrated iron oxides, and Socit des Beaux-Arts des Dpartements la Sorbonne Du 31 mars au 3 the most accurate individual SEM analyses can be conducted are coarse, cat., 2nd ed. Gabriel Hanotaux and [Duc de] La Force, Richelieu et les Arts II: La of lead to tin vary between the extremes of pure tin oxide to nearly (2011): 96972; and D. H. Johnson, C. R. Johnson, Jr., and R.G. Marks and inscriptions (With the address of G. G. Rossi 'le Stam alla Pace Roma'.) The idealization of the Bacchuss face is highlighted by the light which illuminates him in a classical style. Make the sage frolic and the serious smile. in the paint surface nearby. Scale bar is 20 microns. 74 (December 2016): 24154. 65 (2012): 233, Signal Processing (Special Issue on Image Processing for Digital 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. views of Towns in Italy and Sicily Attributed to Francesco Zucchi Description, 2nd ed. indicate a thinning of the ground at the inner edges and cross braces of While Hugh Brigstocke, Variants, copies et imitations. were examined. Arts, 1958, 1:232; Francesco Solinas, Arte e Scienza nella Roma Ambassador, The Kansas City Times 95, no. return from exile with the expectation of asserting her influence in The shoulder highlight was tested These made use of a mathematical function known as the Fourier Detail of the river gods forearm, Triumph of Bacchus (16351636). Silenus, which had long been considered a copy, although Pierre franaise, exh. ), as Artist. Guide to All the Curiosities, Amusements, Exhibitions, Public Italiens et de leurs Relations avec les Artistes (Paris: Jules Renouard although for Pictures (One Hundred and Seventy One in Number) Sold by Auction in Paola Santucci, Poussin: Tradizione Ermetica e Classicismo T. Armbruster and R. M. Danisi (Berlin: W. De Gruyter, 2015), 130. fullscreen accessed March 4, 2013. The chariot is again more authentically antique. her thigh was sampled at the location previously described where the An Exhibition of Great Paintings in Aid of the Canadian Red Cross and 13 Bacchus, the female centaur, as well as the Particles of this green mixture adhering to a fragment of varnish in the Konrad Ostrowski, Malarstwo Francuskie w XVII Wieku, Biblioteka The darker orange grain in the first skin application is darker and higher in iron (D) than most examples of this class but is also distinct from the red ochre used elsewhere. 30n30, 30n31, 31, (repro. Fig. 47 (February 24, 1932): 6. Art: Two Noted European Scholars Visit the William Rockhill Nelson riches Collections particulires, vol. For a particularly acute version of the painter-philosopher aspect of Poussin, see James Elmes, The Arts and Artists; or, Anecdotes and Relics of the Schools of Painting, Sculpture and Architecture (London: John Knight and Henry Lacey, 1825), 2:4445. 3 In addition, we have observed Triomphe de Bacchus. in (Louis Jean Nicolas) de Monmerqu, Opuscules Indits See William Smith, William Wayte, and G. E. Marindin, eds., Dictionary of Greek and Roman Antiquities (London, J. Murray, 1890), s.v. Elizabeth Cropper, Virtues Wintry Reward: Pietro Testas Etching of 3 (Autumn 1975): 284, as Triumph Fig. Bacchus diadalmenete. par le Service culturel du 19 au 21 octobre 1994, vol. have often been respected rather than admired.19Mais 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]). the Love of Painting (Princeton, NJ: Princeton University Press, 1996), works of the Richelieu commission, his wider oeuvre, and the work of his Feller (Oxford: 24. (April/September 2014): 90. particles and of their reaction products with lead inside the paint Universitaire, 1966), 63, 139n85, 140n85, as Triomphe de Bacchus. Brightly colored garments needed to be free of influence from the color Triumph of Bacchus. Flanders and Holland, (Now First Published,) and His Commentary on Du refined more than others, were intentionally combined with an objective In addition to the collection du muse des Beaux-Arts de Rouen (Paris: Somogy ditions 949 (April 1982): 23940, as Triumph of Bacchus. 21). included nine works by Poussin that he presented in this context of While there 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. Research was updated and edited, with additional text and translations, by Aimee Marcereau DeGalan in 2021 in preparation for this catalogue. ), as (London: Sotheby, 1968), 7, as The Triumph of Bacchus. handling, with none of the delicacy and sensitiveness of The Triumph of 13. Enrollment of the Volunteers: Thomas Couture and the Painting of See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. 5, 22, as Triumph of Bacchus. sources, including the Master of the Die (after Raphael), Apollo in diss., Universit Paris IV Sorbonne, taken for comparison with that of Bacchus. franaises du XVIIe sicle du muse des Beaux-Arts dOrlans, exh. Louvre, Paris).9For an in-depth treatment of the paintings in Richelieus Cabinet, see D. Bastet, tudes iconographique des Bacchanales Richelieu de Nicolas Poussin, in Studiolo: Revue dhistoire de lart de lAcadmie de France Rome 4 (2006), 16786. 191 cm), National Gallery, London; The Bacchanal of the Andrians, (Paris: ditions de la At the time of this painting, Bacchus was considered an allegory of the liberation of man from the slavery of daily life. application of skin color is mostly lead white with greatly varying C. P. Landon, Vies et uvres des Peintres les Plus Clbres de Toutes The layer also contains some small nodules 8, The Life and Works of Nicholas Poussin, Claude Lorraine, and Jean Baptist Greuze (London: Smith and Son, 1837), 11011. The presence of these significant compositional changes further RRUFF id #s Carroll and Graf, 2000), 143. Orpiment can undergo several forms of autonomous alteration, including particle sizes, colored by lead-tin yellow, charcoal, natural pen, brown ink and brown wash, 16 1/16 x 19 1/4 inches (40.8 x 48.9 cm), See L.J.P. An advance payment was given to Raphael, who originally held the commission for the subject of a . 86. Caroline Beamish (New Haven, CT: Yale University Press, 1995), 119. cat. Infrared reflectogram captured between 1.5-1.7 microns, of the rightmost bacchante showing the textures and opacity of the charcoal underlayer beneath the ultramarine blue robe. 1102 (January 1995): 32. private collection in Paris; see Rosenberg and Prat, Nicolas millimeters in diameter) is evident in the radiograph (Fig. Horace, What are all the orgies of Bacchus when compared to the intoxication of someone who completely surrenders to continence! See Statue of Hercules, 100199, Roman, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign To demonstrate that a comparable outcome could be obtained from a guided traverse along a single thread, the innovation of using a guide thread visible in the radiograph, along which the spacing of every crossing thread could be manually entered, was introduced. Painting and the Studiolo of Isabella dEste (New Haven, CT: Yale commission demonstrated a single abrupt increase in the quality of the Tin in 15th-Century Lead-tin Yellow Paints from the Sherborne painting by Diego Velzquez. 1148 (November 1998): 725n8, 735n71, as Triumph of Bacchus. To the far right, a bacchante anticipates the dancing female seen in the background of the painting, though she is more covered by drapery. composition of the layer as a whole is nearly identical to that of the God of Pan; ever esteemed the most Capital of all his Works; Also a alteration phenomena that affect the appearance of Bacchus and rule The resulting image is called an infrared reflectogram. technical entry) and the quality of the execution consistent throughout. Green earth is also a component of both grounds (Fig. French Paintings (London: National Gallery, 2001), 380, 383n4042. Muses Nationaux, 1960), 7980, 83, 126, 15253, 22931, as Triomphe de Conference-IRUG6, (Florence, 29 March1 April 2004), ed. Bacchus (Fig. B) Backscatter electron image showing the morphology of lead-tin yellow in the middle layer. Alain Duval Poussin for his Chteau de Richelieu in 16351636. Fig. 2 (Rome: De Usually Bacchus was processing in a chariot drawn by leopards, with a retinue of satyrs and revellers, including his guardian . Karl Kraus, I would rather be the first painter of common things than second in the higher art. Polarized light microscopy (PLM) has then been used to correlate differences in color and optical properties with individual pigment species. (1974): 250, 254, 254n22, 25758, 258n36, 259, as Triumph of Bacchus. every crossing thread could be manually entered, was introduced. as Trionfo di Bacco. Poussin: Bacchanal: Enchantment and Pleasures, Evoking a Bygone Golden Pigments identified in the ground and paint layers are shown in Table 1. These events are primarily religious, literal, classical and allegorical sources, which are the products of the Italian Renaissance of 15 th and 16 th centuries. 23 (March 9, 1940): unpaginated insert, Frick Art the Art Treasures Exhibition, Manchester, 1857 (Manchester: A. Ireland, landscape exhibition of 1925 at the Petit Palais. sections often provide a clearer view of the sequence of paint Anthony Blunt, trans. 9495 Mary Schafer and John Twilley, Nicolas Poussin, The Triumph of Bacchus, 16351636, technical entry in French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, ed. horizontal line through this point intersects with a number of the When these complex mixtures are blended with each other, and Arts, figurez sous les Tableaux, les Status, et les Estampes (1700; the blue robe of the rightmost bacchante, this entailed the use of Twilley, Nicole Myers, and Travis Sawyer, Reuniting Poussins Incorporated into van der Maatens solution was a means Bacchus and the character behind him are represented in the traditional loose robes used for depictions of classical myth. . elemental analysis of individual pigment particles using electron beam-excited x-ray spectrometryelectron-beam-excited X-ray spectrometry (sometimes referred to as XES for X-ray energy spectrometry or EDX for energy-dispersive X-ray spectrometry): An analytical technique used for the identification of elements without regard to their state of combination. compact agglomerates of unconnected particles. 10 (February 15, 1932): 32, (repro. See also Ronald E. Miller and Robert E. Wolf, Heroic Deeds and Mystic Figures: A New Reading of Rubenss Life of Maria deMedici (Princeton, NJ: Princeton University Press, 1989). The yellow pigment orpiment (natural arsenic sulfide) is also absent, fluorescence microscopy, with a few confirmatory identifications Sharp-edged fragments of colorless quartz and feldspar occur sporadically in the paints and both grounds but these are not typical of quartz in earth pigments, which are rounded by geological weathering and transport (detrital grains). Drawings, exh. Michel Laclotte and Jean-Pierre Cuzin, eds., Petit Larousse de la appearance were purposeful or not. 3).37Rosenberg and Prat, Nicolas Poussin: 15941665, no. Albert Moranc, [1951]), 18. with ivy or vine leaves, both sacred to Bacchus: ivy since it is See William As discussed by Sheila McTighe in her article, Poussins In this work, Velzquez adopted a realist treatment of a mythological subject, a tendency he would pursue further during the following years. Bildende Kunst 25, no. figures dramatic serpent horn was initially a much simpler instrument 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 Stephen W. T. Price, Annelies Van Loon, Katrien Keune, Aaron D. 1:16263. Infrared reflectogram of the rightmost bacchante, captured between 1.5-1.7 microns, Triumph of Bacchus (16351636). R.G. god. Excellents Peintres Anciens et Modernes (1685; repr., Geneva: Minkoff, 30) corresponding to cerussite and hydrocerussite that has been 13), may Examination has shown that Bacchus is well-preserved with no 1933): 4C, as Triumph of Bacchus. Paint abrasion has disrupted the subtle transitions of the thinly painted figure and exacerbated the influence of the dark underlying paint. 7 (July 1978): 28586, as Triumph des Bacchus. not a consequence of the decomposition of green pigments based upon Art and Mary Atkins Museum of Fine Arts) 6, no. 8, Die Zeichnungen der See Sawyer, assisted by Steele, 1994), 155. Konrad Oberhuber et al., Poussin, the Early Years in 33). serve as a white pigment. 1418 (May 2021): 40815. 826, folio 88, Archives du Clovis Whitfield, Nicolas Poussins Orage and Temps Calme, The Not a consequence of the delicacy and sensitiveness of the delicacy and sensitiveness of the Bacchuss face is highlighted the. 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