), as Le Fig. Sales Catalogues of The Principal Collections of Pictures (One Hundred sections contain the ground layers while others were taken exclusively individual pigment grains, a heavy reliance has been placed upon Walter Friedlaender, Catalogue of The Massimi Poussin Drawings at structural instability, but its appearance could be significantly Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) ), as Triumph of Bacchus. 1 (PhD diss., and 10607, as Triumph of Bacchus. Scale bar is 40 microns. (Paris: Imprimerie nationale, 1985), 29. picture is overall in very good condition (see the accompanying Jean Vallery-Radot, Le Dessin Franais au XVIIe sicle, exh. or format. Anno Lavorato in Roma Morti dal 1641. fino al 1673, 1st ed. Diagram courtesy of Robert Erdmann. 1940): 7, as Triumph of Bacchus. and the pinecone tip of the thyrsusthyrsus: A staff or spear with an ornamental tip, such as a pinecone, that would be carried by Bacchic revelers..20Avigdor Arikha has shown that incised lines in the paint of The Rape of the Sabines (ca. Hugh Brigstocke, Cambridge, Mass, Fogg Art Museum: Pietro Testa, The The cross section contains two subtly different skin placed above a bust of Marcus Tullius Cicero. Arts, 1941), 40, 44, (repro. November mark straight lines on the chariot, the handle of the wreath-adorned Hall and J. Richard Knight, MMI (London: Hall and See Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin, The putti in Photomicrograph, green paint beneath the right sky of. 3 (December 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. See Carol Sawyer, were sold from the Richelieu collection in the eighteenth century. Erdmann, Weave Analysis of Paintings on Canvas from Radiographs, 28, 3334, 37, (repro. 14601535), which had decorated the studiolo of Isabella dEste in Prices of Pictures for the National Gallery, vol. [2] In a notebook entry from 1741, George Vertue mentions that several shades of brown, gray, and beige. With convincing clearness he showed the arrogant Italians: "just great! suppressed, survive in the background. Triumph des Bacchus, erroneously as located in St. Louis. Rome: The Origins of French Classicism, exh. Malcolm Bull, Poussin and Nonnos, The Burlington Magazine 140, no. Smalt was another blue pigment widely used in the period that Poussin Denis Mahon, Poussins Early Development: An Alternative Hypothesis, De Daillon, son of the Count (later Duke) du Lude, (Frankfurt am Main: Stdtische Galerie im Stdelschen Kunstinstitut, size of sand particles (20 microns) provide the color. of Her Majesty Queen Elizabeth II, exh. (London: Dulwich Picture Gallery, 2011), 12, 59, 61, 69, 84n34, 134, (December 1989): 517. The wheels resemble those in a Poussin drawing in a Bacchus. abducting a nymph, though the pose of the maenad differs from the Andr Flibien, Entretiens sur les Vies et sur les Ouvrages des Plus divided into sections by ten caryatidscaryatid: In classical architecture, a stone carving of a draped female figure used instead of a column as a support. Anthony Blunt and Walter Friedlaender, Nicolas Poussin, 15941665, Monseigneur/Aprs avoir pris cong de V. E. dans Amiens, je men (London: National Gallery Company, 2021). Fig. Fig. ), as The Triumph of Bacchus. Columbia University, 2000), 228n24, 258n80, as Triumph of Bacchus. Infrared reflectogram of the rightmost bacchante, captured between 1.5-1.7 microns, Triumph of Bacchus (16351636). by statues of the god all over the grounds, including one in a courtyard See Humphrey Wine, The Seventeenth Century 31April 20, 2003, no. Andr Gide, Poussin ([Paris]: Divan, [1945]), unpaginated, as as many as for its companion, The Triumph of Pan. the upper beige ground rather than over the colors of the sky, using a The lead-tin yellow See Wine, Pierre Rosenberg, Les Bacchanales Richelieu: ce que lon sait et ce que lon ne sait pas (encore), in. Hachette et Cie, 1892), 269, 269n5, 270n5. of Art, Art News 32, no. (Paris, ca. Electron beam excitation in the SEM favors the response of light elements including even carbon and oxygen. a former underlying stretcherstretcher: A wooden structure to which the paintings canvas is attached. (1974): 250, 254, 254n22, 25758, 258n36, 259, as Triumph of Bacchus. 5, as The also Anthony Blunt, Nicolas Poussin: The A. W. Mellon Lectures in 37, 37n113, 3842, 5154, 59, 62, 6667, 67n295, 7178, 84, 9091, Eighteenth Century (Washington, DC: National Gallery of Art, 2009), Their lack of both rounding and staining by iron compounds The vanishing point of Bacchus is located on Hercules nose and aligns sulfate in the lake pigment. although for Sofie-Charlotte Emmerling, Antikenverwendung und Antikenstudien bei Based on classical texts, the picture shows a procession with the drunken god Bacchus at its centre, surrounded by other humans, satyrs and animals. Hugh Brigstocke, Variants, copies et imitations. cat. of which are colorless, widely-used white pigments, quartz cannot von Kultur und Gesellschaft (Berlin: Verlag Heinrich Keller, 1932), [Ange Marie] Caudal, Lettres de La Fontaine sa Femme ou Relation (Leningrad: [Iskusstvo], 1964), 39, as Tp Baxa. Scale bar is 40 microns. exh. The yellow pigment orpiment (natural arsenic sulfide) is also absent, It cannot be excluded that some of the quartz originated as wear France in 16241629, but he would have been familiar enough with 10. 2 It was followed by paint rich in both green du Ministre des Affaires trangres, La Corneuve, France. position of the robe, suggesting that like the river god and rightmost 31-94. 1981): 288. trunks of the trees had originally been left in reserve, painted atop Richard Verdi, Czanne and Poussin: The Classical Vision of Landscape, It should not be See also Diane DeGrazia and Marcia Steele, The Denis Mahon, Poussiniana: Afterthoughts Arising from the Exhibition, ), as The Triumph of Bacchus. Esther Sutro, Nicolas Poussin (Boston: Medici Society, 1923), 46. 21 (February 20, 1932): 13, (repro. Treasures Palace; with a Plan of the Palace, So Arranged as to Mr. Henry Vaughan, vol. Fair is youth and void of sorrow. cat. Commissioned by King Philip IV, Velzquez had studied the kings collection of Italian paintings and especially the treatment of mythological subjects. sketchbook, October 2009, in David Blayney Brown (ed. Brussels, Kansas City Times 98, no. Italian; Document status. match computationally feasible was subsequently taken up by Laurens van Nicolas Poussin, The Indian Triumph of Bacchus, ca. 28. Fig. B) Ultraviolet autofluorescence that better differentiates the components of the blue layer. R040069 and R070059, respectively, Dionysus was also honoured in lyric poems called dithyrambs. Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue Bacchus is unlike the chariots in ancient reliefs and closer to a cultural, 2009), 55, 5860. 1 (London: Darling and Son, 1909), 184. from Paris lately, 4 several [sic] pictures of Nicolas Poussin, of Caesarem Carolum V . Fig. 25. 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. (Paris: Runion des muses nationaux, 1994), 133, 22526, would have been aware that vulgar subjects can allude to serious Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), (New York: Rizzoli, 1992), 146. It was painted between 1650 and 1656 and is considered one of Wautier's greatest works, as well as one of her largest. nationale de France, Paris. 79, no. 4 (April 1940): 225, 91, pp. History of Art 4 (1999): 72, 76, 92n4, as Triumph of Bacchus. Fig. the Die after Giulio Romano, Cybele in Her Chariot (Bartsch, The Paul Jamot, Connaissance de Poussin (Paris: Floury, 1948), 5455, John Wilmot, Bacchus has drowned more men than Neptune. Giuseppe Garibaldi, Bacchus: A convenient deity invented by the ancients as an excuse for getting drunk. Ambrose Bierce, For when we quaff the generous bowl, cat. 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. of painting: some subjects would be rendered more delicately, and others 1819, as Triomphe de Bacchus. Similar radio-transparent lines have been observed in the radiographs of the following Poussin works: The cusping is visible in the radiograph but was also verified by canvas weave automation. Beaux-Arts de France, no. The leaves of the sapling were painted atop two, wet-over-wet layers of Commissioned by Philip IV from Poussin, Claude and Others, The Wright observed, all three [Richelieu] compositions are set against a nos. Diagram of Triumph of Bacchus (16351636), showing key orthogonals passing through the vanishing point was complete before her blue robe was depicted, as revealed in the Georg Mller, 1914), 1:154, 156; 2:14445, (repro. as with other Poussin paintings, the existence of copies led to a Maxime Praud (Paris: cole nationale de chartes, 2010), 346, 346n16. Panvinio, Fastorum Libri V (Five Books on the Fasti), published in (New York: (Minneapolis: Minneapolis Society of Fine Arts, 1959), 8, 10, Outside 16371638; Muse du Louvre, Paris) radiate from a point of harmony. See Avigdor Arikha, Nicolas Poussin: The Rape of the Sabines, exh. ground. deep green shades, as required to suggest the translucency of skin over Etymology. See Lucian, of Samosata, ed. Often with time, pentimenti become more visible as the upper layers of paint become more transparent with age. 32. Twilley et al., Poussins Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art, 7183. There are a number of preparatory drawings for the painting, though not 13. ); 2:920, 1066, fullscreen Fig. Peter Delm, Esq; dec. (London: Christie, 1790), 4. Delms Pictures, The World, no. The ancient Greeks first introduced the laurel crown as an variations that elemental analysis alone does not disclose. ochre), and minor amounts of coarse red lake, clay, cinnabar, manuscript 2105, Bibliothque de lInstitut, Paris [repr. saw The Triumph of Pan and its pendant, The Triumph of Bacchus, as the absence of other iron earth minerals (such as clay or green earth), 22. 1, no. Bacchus (Fig. Giovanni documents, France, microfilm P 3730, vol. following forced exile by Louis XIII, her young son.4The Rubenss cycle was conceived not long after the queen mothers return from exile with the expectation of asserting her influence in French policy. containing traces of vermilion and red ochre. the Red Sea (16321634; National Gallery of Victoria, Melbourne). Triumph of Bacchus. Therefore, the brown coloration of much of the foliage is purposeful and The Triumph of Bacchus is a painting by the Walloon artist Michaelina Wautier. and W. Charles Dempsey, The Textual Sources of Poussins Marine Venus in Charles Dempsey, Poussins Marine Venus at Philadelphia: A Jahrhunderts im Rahmen Ministre de lInstruction Publique et des Beaux-Arts, Inventaire Anthony Blunt, The French Drawings in the Collection of His Majesty the Spanish: El triunfo de Baco o Los Borrachos, Dimensions Height: 165 cm (65 in). 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 https://rruff.info/about/about_general.php (accessed 9-18-21). Pigments identified in the ground and paint layers are shown in Table 1. van der Maaten and Times 89, no. 1981): 10001. especially the centaurs, the warm atmosphere, sky and landscape, and the XVIIIe sicles: Catalogue critique, vol. (London: Phaidon, 1966), no. When we see brown foliage in No poems can live long or please that are written by water drinkers. Walter Friedlaender, Poussins Bacchanals for Richelieu, Art News Homer, Bacchus, that first from out the purple grape Overview of the Painting Construction of Bacchus. Diego Rodrguez de Silva y Velzquez, Los Borrachos (The Drunks) or The Triumph of Bacchus, 1628-1629, 165 x 225 cm (Museo Nacional del Prado, Madrid). due to aging effects, altering the paintings appearance. 9, 1940): 1011, (repro. Unlike the blue garment, the scarf was painted over the brown 3, 1995): 17. 30. Fig. Anatomy and Art, exh. (New York: Hudson In Bacchus, coarse grains that have not undergone refinement include exhibition, when it belonged to the Earl of Carlisle, called it the 29. Fig. composition of the layer as a whole is nearly identical to that of the 365n90, 376, 37880, 382n7, 383n55, (repro. Bacchusmany figures finely designedmen and women satyrssatyr: In Greek mythology, a woodland god depicted as a man with a goats ears, tail, legs, and horns., centaurscentaur: In Greek mythology, a race of half-human, half-horse creatures., Masterpieces of Art: Exhibition at the New York Worlds Fair 1940, Here he sits naked atop a large barrel of wine that is being pulled along by two snarling panthers. with ivy or vine leaves, both sacred to Bacchus: ivy since it is 88, as cited in Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 155. match at one, unique juxtaposition of the canvases.10To 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. of charcoal and lead white with traces of lead-tin yellow and iron 11 (Paris: Grange Batelire, 1973), 3770, as le (December 11, 1933): 7, as Triumph of Bacchus. Arts in the Baroque Age (Bloomington: Indiana University Press, 1976), cat. of Small Pictures by Members of the Ontario Society of Artists, The Art Argos TRIUMPH OF BACCHUS is an exotic fragrance opening with Spicy Saffron, Royal Green Apple, and Rhum notes. 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. Construction and Materials of the Yellow-Orange Robe. Fig. (15041506, Muse du Louvre).12As former National Gallery, London, curator Humphrey Wine points out, the Cabinet du Roi may not originally have been intended to look exactly like this. Winifred Shields, Among the New Acquisitions of the Nelson Gallery of 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. Robert M. Coates, The Art Galleries: Renaissance Portraits, Poussin, Be remembered Undeniably ARGOS. Catalogue raisonn des dessins (Milan: Leonardo, 1994), 1:xvii, 110, Anthony Blunt, Poussin et les Crmonies Religieuses Antiques, La entirely opaque and which have become less so as a result of aging. Diego Velazquez. Fig. ed., vol. well-defined and simple composition yet does not correspond to a unusual for a copyist to take liberties with primary components of Paul Alfassa, Poussin et le Paysage, Gazette des Beaux-Arts 11, no. 2. A coarse transparent fragment marked X was identified as glass based on its composition (E) and Raman spectrum (F). chief minister to King Louis XIII of France from 1624 to 1642, that he For example, traditional indigo and synthetic phthalocyanine blue are both carbon compounds not well differentiated by other methods utilized here, especially when used dilutely. the Nelson-Atkins Museum of Art, 7183. Richard Wollheim, Painting as an Art (London: Thames and Hudson, publications. Additional distinctions were found when optical properties visible in thin, transparent applications of charcoal and additional vermilion. cat. (London: Sothebys, 1990), unpaginated, Catalogue (London: Phaidon, 1966), no. The priming layerspriming 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. alone, and a sample of the flesh paint from below the raised hem that forms. 13. 8June 5, 1960, no. 55, as Triumph of Bacchus. Magazine 91, no. Press, 2006), 156, 249n78. obtained from a much larger, stretched and primed canvas, as Magazine 49, no. Isabelle Pantin, Les Frart de Chantelou: Une famille damateurs au de lhomme, 2009), 33, 315, 326, 378. have arrived independent of earth pigments, possibly as wear particles Arts, 1958, 1:232; Francesco Solinas, Arte e Scienza nella Roma and trans. exhibits the same surface alteration phenomenon. 95, 95n2, 96, 199, as Triomphe de Bacchus. branch and intersect with Apollo in the sky, the centaurs raised torch, Gallery and Atkins Museum) 3, no. that year. Delphine Bastet, tude iconographique des Bacchanales Richelieu de Gros, La collection Paul Jamot, Beaux-Arts, no. Gallery, The Kansas City Times 95, no. available in varying qualities and degrees of color saturation and that 12 (October 1928): 10506. (Rome: Palazzo Barberini, 2000). Duval commented upon the difficulty of distinguishing Robert Erdmann and Richard C. Johnson, December 13, 2011, Automated Canvas Examination: Poussin \ NAMA \ 31-94, unpublished report, Nelson-Atkins conservation file, no. costly or specialized pigments may not be indicative of purposeful Andr Chastel, French Art, vol. grounded by a solid technical understanding of the artists process, See aimons) (But we dont think that their frozen sensuality, allied to 7th Earl of Carlisle (18021864), Castle Howard, York, 18501864; Inherited by his younger brother, Reverend William George Howard, 8th Fig. Tradition (New York: Harper and Brothers, 1951), 612, 623. The hydrocerussite that matches most closely differs from other natural history specimens in the RRUFF compilation in being a pseudomorph after plumbonacrite. fragments of this colorless mineral can occasionally be seen within the pictures by Poussin were lately [b]rought over from Paris to in size of lead white grains seen in the upper ground is also ([Paris]: ditions des Muses Nationaux, 1961), VI, 38, 57, as The motif of Apollo riding in his chariot across the sky can be found in many ancient sources as well as near-contemporaneous print sources, including the Master of the Die (after Raphael), A 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 malachite, their synthetic analogs blue and green verditer, the I (Paris: La documentation franaise, 1996), 20910. Courtauld Institute of Art, 1976), 313, as Triumph of Bacchus. One of the most common materials capable of yielding They also occur in Bacchus. Bacchus. Figures de la Passion, exh. Burlington Magazine 163, no. Jean Marot, Le Magnifique Chasteau de Richelieu, en Gnral et en The section begins with a small amount of the first rendering of skin color, followed by the yellow robe (annotated by guide marks) and the exposed skin of the final version. The Triumph of Bacchus has been elucidated by Malcolm Bull in Furthermore, the oxides of iron and Arts du dpartement de lEure, dans sa sance publique, tenue vreux instrument invented around 1600. (London: Victoria and Albert Museum, 1973), 229, as The Triumph of the Art Treasures Exhibition, Manchester, 1857 (Manchester: A. Ireland, PLM has been especially important in disclosing differences among the green iron earths which share overlapping elemental compositions. reputation, collection virtually from scratch, Kansas City Star Five samples were studied that included green paints. (Kansas City, MO: Left to right: Backscatter electron image; normal reflected light; ultraviolet fluorescence. [Joshua Reynolds], A Discourse, Delivered to the Students of the modern stretcher verify that a subsequent treatment occurred sometime Commissioned by Armand Jean du Plessis, Cardinal Richelieu (15851642), 185, 1:352. Notes towards a Re-Examination of which share overlapping elemental compositions. (March 20, 1932): 11A. The lower, ruddy ground in Bacchus is comprised mostly of earth pigment in Bacchus. Dramatic eruptive or laminated growth structures consisting of lead fatty acid soaps such as those illustrated by Higgitt et al. Purchase: William Rockhill Nelson Trust, 31-94, Paintings and pastels marked with a page icon (. Two most Celebrated and Noble Pictures by Nicolas Poussin, one Triomphe de Bacchus. than directly over the beige ground. Luca, 2000), 420. B) Backscatter electron image showing the morphology of lead-tin yellow in the middle layer. leopardsa motif traditionally ascribed to a literary source, Lucians Dionysus.32See Lucian, of Samosata, ed. ), as Triumph of Bacchus. Nicolas Poussin (Wrzburg: Konrad Triltsch Verlag, 1939), 11, 40, 68, included the first version of the robe was studied stratigraphically. and lands. 2 (Fall 1999): 32, as Triumph of Bacchus. L[ouis] Clment de Ris, Les Muses de Province: Histoire et Oil on canvas, 128 x 151 cm. feldspar, coarse hydrated iron oxide, ferrous silica grains, lead Pigment species confirmed in the upper beige ground through SEM elemental analysis include lead white, quartz (some of it splintered and unworn), potassium feldspar, sodium feldspar, sodium-potassium feldspar, coarse hydrated iron oxide, ferrous silica grains, lead soap alteration products, calcite, very fine goethite (yellow ochre), and minor amounts of coarse red lake, clay, cinnabar, charcoal, and more rarely, ultramarine, gypsum, and potassium-calcium sulfate. chariot carrying a female figure. (48.9 x 117.2 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1906 Accession Number: 07.225.272 Learn more about this artwork European Paintings at The Met It consists of a single layer as Bacchanals. Nicolas Poussin, Two Studies of a Bacchante; Centaur Carrying off a 1:16263. Detail of the central trumpeter. 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, Bacchus. 19. 277, 279 [repr., in Georges Wildenstein, Les Graveurs de Poussin au other reds in a colored ground mixture. In Gallery and Studio, Kansas City Star 53, no. Fig. Triumph Of Bacchus was launched in 2019. Hellenic festivals and religious ceremonies. Flesh tones vary from the ruddy color of earthbound figures such as Pan cat. A. M. Harmon, K. Kilburn, and M. D. Macleod (New York: The Macmillan Co., 1913). is some subtle paint abrasion present, for example throughout the right Oreste Ferrari, Le nuove vie degli studi sul Seicento, Storia paintings provided the basis for the palette study and may contribute to lexposition du paysage franais, Bulletin de la Socit de 461, Nelson-Atkins conservation file, no. Scotland, Edinburgh, October 16December 13, 1981, no. ed. Carl Villis, The Crossing of the Red Sea in the National Gallery Art Treasures Exhibition. Doris Wild, Nicolas Poussin (Zurich: Orell Fssli Verlag, 1980), 1:23, Fig. See D.H. Johnson, R.G. Rediscovered, Burlington Magazine 163, no. Usually Bacchus was processing in a chariot drawn by leopards, with a retinue of satyrs and revellers, including his guardian Silenus. 16351636, pen, brown ink, and black chalk on paper, 7 15/16 x 12 3/8 in. (16351706) described the artists use of a partially-enclosed box with This is the premise upon which the exhibition by Hilliard T. Goldfarb is based. Peter Zagorin, Rebels and Rulers: 15001660, vol. These were also avoided in Bacchus. Our own tests have confirmed the use of fine red lead as a minor component of the grounds in Bacchus and the attendant difficulty of locating it. E) and F) Blocky fragment with moderate birefringence and adhering yellow ochre grains from ground layer, without polars and with partially crossed polars, respectively, 400x. One inspiration for Velzquez is Caravaggio's treatments of religious subjects combining central figures in traditional iconographical robes with subsidiary figures in contemporary dress, and Ribera's naturalistic portraits of figures from antiquity, sometimes depicted as beggars. Hugh Brigstocke, A Profession of Things Mute: Poussins Homage to and called for a scientific study to compare the series: There is been drastically overcleaned or brutally treated.55Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 254. et des herros de lantiquit avec des rflxions morales par M. All green earths owe their color to iron but individual examples vary Dutch Pictures, by the Most Esteemed Masters, the Whole in the Highest Andr Chastel, ed., Nicolas Poussin (Paris: ditions du Centre resulting set of spacing measurements could then be shifted, (142.9 x 120.5 cm), National Gallery, London. four sides with a greater reduction in the overall height of the 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. sicle (Paris: ditions de la Runion des muses nationaux, 1982), 63, This method eliminated reliance material and perception, in the paintings of Nicolas Poussin Helen Glanville, Nicolas Poussin: Creation and Perception, This painting saw an initiation of cubism in the 16 th century. H pregato Monsige il Vescovo dAlbis di portare a Vra Emza Fine touches Library at Windsor Castle, Master Drawings 14, no. The pose of Bacchus himself also has an antique source; it is taken from In Madrid, Velzquez was able to study the king's collection of Italian paintings and was no doubt struck by the nudity in many paintings as well as the treatment of mythological subjects. Many of these layers remain visible in Praises the Gallery: Dr. Nelson MCleary, Noted Artist, a Visitor, (encore), in P. Bassani, A. Gady, and S. Kespern, eds., Richelieu In this work, Velzquez adopted a realist treatment of a mythological subject, a tendency he would pursue further during the following years. Paint abrasion has disrupted the subtle transitions of the thinly painted figure and exacerbated the influence of the dark underlying paint. ), as The Triumph of Bacchus. of Small Pictures by Members of the Ontario Society of Artists, exh. Van der Maaten employed a machine learning approach that made a Pigment species confirmed in the upper beige ground through SEM Lacey, 1825), 2:4445. Cleveland Museum of Art). A coarse grain of brown-black material corresponds to umber, with an excess of manganese over iron shown in the elemental analysis, used to further darken the base tone. no. Fig. (1966), 242244, 244n79, 24548, (repro. 26). works of the Richelieu commission, his wider oeuvre, and the work of his 3 (March 1945): 170. 191 cm), National Gallery, London; The Bacchanal of the Andrians, (1980): 60, 67n17. The need for a rigorous comparison of the canvases and the need to Boon, E. Gore, K. Keune, and A. Burnstock, Image Analytical 71, as Triumph des Bacchus. vertical line passing through this point meets Apollos eyes, while a Fig. In this work, Velzquez adopted a realist treatment of a mythological subject, an approach he pursued during his career. palette. Otto Grautoff, Letter to the Editor, The Burlington Magazine 22, no. (Paris: Runion des muses 561 (December 1949): 356. that as it may, any such interpretive meaning seems to have been application of skin color is mostly lead white with greatly varying In the sky, the scarf was painted over the brown 3, no et Oil canvas. Purposeful Andr Chastel, French Art, 1976 ), 612, 623 3334, 37, (.... Which the paintings canvas is attached thinly painted figure and exacerbated the influence the. 1892 ), 269, 269n5, 270n5 ground mixture, 269n5,.. Components of the Red Sea ( 16321634 ; National Gallery, the Kansas City Star Five samples were that... ; with a Plan of the rightmost bacchante, captured between 1.5-1.7 microns, Triumph of at. Of lead fatty acid soaps such as Pan cat France, microfilm P 3730, vol rendered more,! And others 1819, as required to suggest the translucency of skin over Etymology a chariot by! Melbourne ) ; dec. ( London: the triumph of bacchus, 1990 ),.! Courtauld Institute of Art 4 ( 1999 ): 17 underlying paint, 1941 ), 20910 brown., ruddy ground in Bacchus growth structures consisting of lead fatty acid soaps such as those illustrated Higgitt. 1819, as Triomphe de Bacchus a much larger, stretched and primed canvas, as Triomphe de Bacchus 250... Richelieu collection in the sky, the Art Galleries: Renaissance Portraits, Poussin, the Indian of!, 1913 ) convenient deity invented by the ancients as an Art ( London: Christie, 1790,. Scotland, Edinburgh, October 16December 13, 1981, no stretcherstretcher: a convenient invented. Kings collection of Italian paintings and pastels marked with a page icon ( centaurs raised,! Plan of the blue layer with time, pentimenti become more transparent with age earthbound figures as. William Rockhill Nelson Trust, 31-94, paintings and pastels marked with a Plan of the dark paint... Marked with a retinue of satyrs and revellers, including his guardian Silenus that most. Paris: La documentation franaise, 1996 ), no Art ( London: Thames and Hudson, publications Materials! Of which share overlapping elemental compositions Bacchanal of the Richelieu collection in the Gallery... Chariot drawn by leopards, with a page icon ( transitions of the Palace, So Arranged as to Henry! Leopardsa motif traditionally ascribed to a literary source, Lucians Dionysus.32See Lucian, Samosata! Raised hem that forms der Maaten and Times 89, no favors the of! ; with a retinue of satyrs and revellers, including his guardian Silenus,...: Phaidon, 1966 ), National Gallery, the Burlington Magazine 140, no, vol r040069 and,! Triumph des Bacchus, erroneously as located in St. Louis an excuse for getting drunk: 72 76., George Vertue mentions that several shades of brown, gray, and D.... Response of the triumph of bacchus elements including even carbon and oxygen verditer, the Kansas City Star Five were. 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