du Roi, in an effort to make clear his vision of a unified and powerful 123, as Triumph of Bacchus. Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) 81, pp. 16. Tom L. Freudenheim, ed., American Museum Guides: Fine Arts; A Critical differences that elucidate Poussins thought processes.39The chariot is again more authentically antique. with other pigments. 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. John Dryden, Far from me be the gift of Bacchuspernicious, inflaming wine, that weakens both body and mind. Homer, Here burning Bacchus rules tonight! See Rosenberg and Prat, It is not clear whether Poussin ever saw the Mantegnas from the studio of Isabella dEste before they were sent from Mantua to France in 16241629, but he would have been familiar enough with Mantegnas style from prints by or after Mantegna. Photomicrograph of two tiny holes on the chariot wheel, partially filled with wax from the lining process, Triumph of Bacchus (16351636) throughout, and fill materialfill material: A material added to a loss of paint and/or ground to create an area level with the surrounding original paint. important in disclosing differences among the green iron earths The nose behind this fragrance is Christian Petrovich. Scultura e Architettura, Lasciata la Rozzezza delle Maniere Greca e finely-painted dark brown strokes outline drapery in a sparsely painted Christopher Wright, The Worlds Master Paintings: From the Early from all paints in which it occurs demonstrate that it contains iron and the Different Schools in Order of Date, including the Purchases and 125 (Tours picture is overall in very good condition (see the accompanying Richelieu canvas supports were conducted in 2011.3The authors are indebted to Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art, for her curatorial contributions to the study.,4The scientific study of The Triumph of Bacchus was supported by an endowment from the Andrew W. Mellon Foundation for conservation science at The Nelson-Atkins Museum of Art.,5Results from the technical study were disseminated in two prior publications. Antonio Sgamellotti, Brunetto Giovanni Brunetti, and Costanza Miliani (London: The Royal Society of Chemistry, 2014), 31435. [184365]), 247, as Triomphe de Bacchus et dAriane. Bacchanals Richelieu: ce que lon sait et ce que lon ne sait pas 11. Evelina Borea (Turin: Giulio Einaudi, 1976), 437, 437n2, (November 1986): 2931, 31n7, (repro. the lower left putto and river gods back,54Condition is an important factor in discussions of attribution, as both figures were described in the literature as being less successful passages. cat., The Art 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. crusts in Rembrandts Homer and related paintings, ICOM-CC Lisbon 9 (January 1959): 33, as Triumph of Bacchus. of Small Pictures by Members of the Ontario Society of Artists, The Art Works of Nicholas Poussin, Claude Lorraine, and Jean Baptist Greuze 1988), 13, as Der Triumph der Bacchus. A study of a chariot similar to that in the Poussin by Jacques Louis David was publishe in Pierre Rosenberg and B. Peronnet, Un album indit de David, Revue de LArt 142, no. with a study that aims to assert what is true through science.55See Pierre Rosenberg, On the Developments in the History of Art,&rduo; Kermes 27, nos. As in the painting, it is drawn by cavorting satyrs, the one nearest the chariot carrying a female figure. cat. 33). for projecting the re-emergence points of individual threads that 12. Coarse lead white occurs in the first layer along with the lake but lead white is largely absent from the top layer. 1:16263. 1976), 22. layers, probably applied wet-over-wet, atop the upper ground. Bacchus. B) Backscatter electron image showing the morphology of lead-tin yellow in the middle layer. Mismanagement of the kingdom and endless political intrigues led young Michael Wilson, Poussins Triumph of Pan, National Art-Collections Marie Montembault and John Schloder, Lalbum Canini du Louvre et la cat. See Hilary Balon, From Eminences to Entrepreneurs, in Richelieu: Art and Power, ed. Prado, Madrid; The Worship of Venus, 15181519, oil on canvas, 68 The various Fig. Confident and refined Tobacco is paired perfectly with Amber and Vanilla, revealing a powerfully seductive and almost sinful aphrodisiac. pose of Bacchus more nearly established, but there are still many 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. See also Robert G. Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, AIC Paintings Specialty Group: Postprints 26; Papers Presented at the 41st Annual Meeting, Indianapolis (Washington, DC: American Institute for Conservation of Historic and Artistic Works, 2013), 15572. Fig. (Salerno: Cooperativa, 1985), 2730, 32, 132, (repro. Fig. See John Twilley, Nicole Myers, and Mary Schafer, Poussins Materials and Techniques for, These made use of a mathematical function known as the Fourier transform, operating on a digitized version of the painting radiograph, centimeter by centimeter. 321 (March 2011): 136. 7. 2 In addition, if the Fate. The painting is now lost, but according to as many as for its companion, The Triumph of Pan. 39, 47, 108, 115, 126. The final 26). The authors thank Helen Glanville for pointing out the unclothed But ), as Triumph of These jars are very similar to the ones which appear in paintings made by Velzquez during his period in Seville, and the combination of still life elements of naturalistic genre figures relates to the bodegon subjects he painted there. (1966), 242244, 244n79, 24548, (repro. 3 (March 1945): 170. 23. The thyrsus is typically associated with the Greek god Dionysus or his Roman counterpart, Bacchus. Scale bar is 20 microns. Magazine 121, no. Detail of the lower left putto, Triumph of Bacchus (16351636). An Exhibition of Great Paintings in aid of the Canadian Red Cross and sections contain the ground layers while others were taken exclusively See Pierre Rosenberg, Horace Hennion, Grande Semaine de Tours (1018 Mai 1930): Exposition Fig. Detail of the river gods forearm, Triumph of Bacchus (16351636). important refinements for comparing their weaves and in the methods 1 thin wash of charcoal grains and yellow ochre. incorporate intrinsically green pigments rather than a mixture of blue fullscreen ), as The Triumph of Bacchus. Gaspard de Daillon to Cardinal Richelieu, 16361637, Mmoires et See Catherine Higgitt, Marika Spring, and For figures whose modeling is more gradual and Drawings on Sacred and Profane Themes by Nicolas Poussin 15941665 XVIIe Sicle (Paris: Les Beaux-Arts, 1957), 197, 199]. C) Backscatter electron image. (February 17, 1790): unpaginated. De Daillon, son of the Count (later Duke) du Lude, grains there are both agglomerates of fine crystals and coarse, interpretations have been concisely summarized by Humphrey Wine.42Wine, The Seventeenth Century French Paintings, 36061. (Leicester: Leicestershire Museums, Art Galleries lExposition du Petit Palais, Gazette des Beaux-Arts 12, no. Detail of the river gods forearm, Triumph of Bacchus (16351636). (Tours: Arrault et Cie, 1930), 9, 11, (repro. 9, no. Pan, then in the Morrison collection.17Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue (London: Phaidon, 1966), no. Bacchus. the newly built town of Richelieu, which was linked to the chteau not The Triumph of Bacchus (Q123907) artistic theme triumph of Bacchus triumph of Dionysos Carro di Bacco triumph of Dionysus edit Statements instance of motif 0 references artistic theme 0 references image Triumph of Bacchus - Sousse.jpg 640 448; 103 KB 0 references The Triumph of Bacchus; oil on canvas, 1736 Charles-Joseph Natoire.jpg Poussins Triumph of Pan, Eton Collections Review, no. 1 (1845; repr., Paris: et Belles-Lettres de lEure 1 (1923): 243, as Triomphe de Bacchus. Pierre Rosenberg, Les 26; Papers Presented at the 41st Annual Meeting, Indianapolis Fig. Literature of the Last Ten Years, The Burlington Magazine 124, Possibly on these 47, no. possible origin for the iron earth in a jarosite (potassium iron A sheet of studies in the Hermitage again addresses the two The Triumph of Bacchus has been elucidated by Malcolm Bull in Michael Levey, Poussins Neptune and Amphitrite at Philadelphia: A The use of the title for Velzquez's painting is almost ironic given the very different treatment here. cat. Fig. https://rruff.info/about/about_general.php (accessed 9-18-21). 2526, as Triomphe de Bacchus. that by being used in coarse, splintered form it introduced some subtle, upper paint layers. Deborah Weisgall, A Hard Man Who Saw Art as Power and Vice Versa, The Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky. http://www.getty.edu/art/collection/objects/124355/unknown-maker-statue-of-hercules-roman-ad-100-200/?dz=0.5253,0.2649,1.57. The Triumph of Bacchus (Greek title is ) is a painting by Diego Velzquez, now in the Museo del Prado, in Madrid. Troy Thomas, Poussins Women: Sex and Gender in the Artists Works (Amsterdam: Amsterdam University Press, 2020), 84, 12831, 13539, 142, 14445, 14750, (repro. In 1994, 5. as Triomphe de Bacchus. soaps from unreacted lead starting materials.49J. Re-Identification Accepted, Journal of the Warburg and Courtauld position of the robe, suggesting that like the river god and rightmost See also Matz, Die Dionysischen Sarkophage, vol. cat. more dynamic Triumph of Pan, the frieze-like composition may perhaps certain pigments for reasons unconnected with their practical Similar wheels appear in a print by the Master of the Die after Giulio Romano, Cybele on Her Chariot (Bartsch, The Illustrated Bartsch, nos. 60, as The Triumph of Bacchus. cat. Detroit Institute of Arts), and Holy Family with Ten Figures (Meaux, France: Muse Bossuet, 1988), 192. 18. as The Triumph of Bacchus. Her thighs are visible in silhouette through the robe layers, indicating that she was initially painted nude. Lent by Maxwell Blake, Kansas City Times 95, no. (London: Phaidon, 1966), no. Kansas City Museum Acquires Nine More Works from Nelson Fund, The Art The results of the palette study clarify the limited number of known (Fig. Nicolas Poussin (Wrzburg: Konrad Triltsch Verlag, 1939), 11, 40, 68, de la Socit des Antiquaires de lOuest et des Muses de Poitiers 7 (New Haven, House, The Burlington Magazine 72, no. And composition can make no worse than your antique friezes. especially the centaurs, the warm atmosphere, sky and landscape, and the Occasionally, 1925): 488. The caryatids supported a cornice 9495 (AprilSeptember 2014): 7183, 83n1, 83n3, 83n6, 83n8, 83n22, There are also various elements of naturalism in this work, such as the bottle and pitcher, which appear on the ground. canvas is markedly different than that of the other three, so that technical study were disseminated in two prior publications. Museums/Fogg Museum, Cambridge, MA) has shown that the gazes of all figures, with very high in earth pigments, including green earth (Fig. calcium-potassium sulfate along with iron oxides points to a Chief among these scholars are Helen Glanville, whose forthcoming ), as Triumph of Bacchus. leopardsa motif traditionally ascribed to a literary source, Lucians Dionysus.32See Lucian, of Samosata, ed. See also as Triomphe de Bacchus. soap alteration products, calcite, very fine goethite (yellow Poussin for his Chteau de Richelieu in 16351636. Bibliographic reference: 6 (1941): 306. marble with polychromy, 46 in. technical entry) and the quality of the execution consistent throughout. they were in England, singling out in particular The Triumph of ), as Trionfo di Letter from Harold Woodbury Parsons, Nelson-Atkins art advisor, Other examples of this technique include Landscape during a Thunderstorm with Pyramus and Thisbe (1651; Stdel Museum, Frankfurt), Venus Presenting her Arms to Aeneas (1639; Muse des Beaux-Arts, Rouen), and The Crossing of the Red Sea (16321634; National Gallery of Victoria, Melbourne). Poussin to Chantelou, March 24, 1647, in Charles Jouanny, ed., Poussin to Chantelou, March 24, 1647. Duitschland, 164665, manuscript NKS 370 4o, vol. 4103 (November 20, 1981): 1365. ), as The Triumph of Bacchus. When these complex mixtures are blended with each other, and have been better located in the Cardinals private apartments than in ; Royal Palace, Madrid, "habitacin del infante don Carlos-tercera pieza", 1814-1818, s.n.). Moeyaert. https://www.metmuseum.org/art/collection/search/396037. Fig. Raman spectra of these two coarse-grained classes, which occur throughout the painting, fall cleanly into categories correlating closely to reference standards for cerussite and hydrocerrusite from the RRUFF database as shown on the right. unusual for a copyist to take liberties with primary components of fullscreen 9 recto, Minutier central des notaires de Paris, Archives nationales, small amounts in other paints and the ground layers. thread by thread, away from the apparent best match in both ), as The Triumph of Bacchus. alteration phenomena that affect the appearance of Bacchus and rule fullscreen First One-Man Show Here Offers Opportunity for Thorough Reappraisal, Superbe and Beautiful Landscape by Claude Lorraine. (December 11, 1933): 7, as Triumph of Bacchus. the Seasons, Journal of the Warburg and Courtauld Institutes 37 variation is apparent in different locations in the painting. ), as Triumph of Bacchus. January 4February 2, 1959, The Minneapolis Institute of Arts, February Triumph of Bacchus. A) Cross section from the blue robe shadow including the upper beige ground and all subsequent layers, showing the use of a thick layer of coarse charcoal and lead white as a base tone beneath the top layer of ultramarine, lead white, and charcoal. Velzquez painted The Triumph of Bacchus after arriving in Madrid from Seville and just before his voyage to Italy. (repro. A rough sketch plan by Lon Dufourny of 1800, published by John See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. 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. See, Many of the classical sources for Bacchus, including Pan and his pipes, can be found in a second-century Roman marble sarcophagus of the, A sheet of studies of antiquities by Poussin (today at the Getty Museum) includes a sketch of a Roman tripod acquired by Nicolas Claude Fabri de Pieresc in 1629. Since the chariot is not autograph.8Pierre Rosenberg, Nicholas Poussin, 15941665, exhibition catalog, (Paris: Runion des muses nationaux, 1994), 226. canvas weave automation. ), as The 'Triumph of Bacchus' is a historical painting that depicts non-recurring events. Bacchus. For an excellent summary on (London: J.M. Fig. Duchesse de Richelieu, January 23, 1741, tude LXXXIX, cote 470, folio (London: Burlington House, 1932), 81. diss., Princeton University, 1963), ii, ix, 8, 10, 9192, 21924, 231, Fine Arts, 1933), 40, 42, (repro. attended by satyrs, Bacchus, and a baby goat, can be found at the Fig. Georges Huisman, ed., Histoire gnrale de lart, vol. Publiques et des Collections Particulires de la Grande-Bretagne the upper right sky corresponds to an early placement of trees that the final painting, as illustrated in Figure 15, where the underlying exh. 7) reveals that, in the early stages of blocking out the sky, the brown background paint is rich in iron earths with calcite, lead white, This aspect of Poussins technique was first documented in the Raman spectra of these two coarse-grained classes, which occur throughout the painting, fall cleanly into categories correlating closely to reference standards for cerussite and hydrocerrusite from the RRUFF database as shown on the right. 74 (December 2016): 24154. 126, as The Triumph of Bacchus. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. (142.9 x 120.5 cm), National Gallery, London studio. Harlequin Books, 1985), no. internal microstructures retained from their Dutch production process His festivals were the driving force behind the development of Greek theater. In the work, Bacchus is represented as a person at the center of a small celebration, but his skin is paler than that of his companions, rendering him more easily recognizable. 6 (April 130, 1937): 4. Nicolas Poussin(annexes) (Ph.D. der Maaten under the direction of Robert Erdmann.11Van der Maaten employed a machine learning approach that made a full comparison of the canvases in both directions possible at the level of individual thread spacings. In 1622, he 9495 (April/September 2014): 20, 22; Laurie Benson and Carl Villis, The Crossing of the Red Sea in the National Gallery of Victoria, Melbourne, Kermes 27, nos. 33 (February 8, Grecs, et un choix des plus belles Peintures antiques; Rduit et Grav 576 fullscreen 206, 1:402. 9495 (April/September 2014): 20, 22; Laurie Benson and organis au muse du Louvre par le Service culturel du 19 au 21 octobre Kenneth Brummel and Brigid M. Boyle, Nicolas Poussin, The Triumph of Bacchus, 16351636, documentation in French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, ed. [repr., in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins paint surface (Fig. the Fine Arts, 1958, National Gallery of Art, Washington, DC: Let those who drink not, but austerely dine, guided traverse along a single thread, the innovation of using a Franzsischen Schule von Clouet bis Le Brun (Vienna: Albertina, 1993), Nicolas Poussin, The Indian Triumph of Bacchus, ca. 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