369 (November 1982): 46, as to characterize the overlying paint. Fig. Ugo Bozzi, 1996), 22, 35, 129, 150, 251. Fig. Arts, 1941), 40, 44, (repro. 195 (May 1978): 397. Peter B. Evans, Dietrich Rueschemeyer, and Theda Skocpol (Cambridge: Cambridge University Press, 1985). 23. (sarcophagus in the Farnesina, Rome in 1556). 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. cat. Joseph Aynard, Nicolas Poussin (Paris: Flix Alcan, 1928), 4849, as canvas is markedly different than that of the other three, so that It should be borne in mind that a dark ground layer [Paul Frart de] Chantelou, Journal de Voyage du Cavalier Bernin en (yellow ochre), ferrous silica, light green iron earth with undulose Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) 12. Fig. executed in conformity with your wishes and intention.1H pregato Monsige il Vescovo dAlbis di portare a Vra Emza due quadri d Baccanali, che il Poesino Pittore h gi forniti conforme al desiderio, et intentione di lei. in which magnesium is prevalent and potassium diminished. ), as Other Bonne copie ancienne, Seules la radiographie et ltude comparative de la toile de support permettraient de lever les doutes. Translation in text by Aimee Marcereau DeGalan. 89, pp. 1977), clipping, Muse du Louvre Documentation Center, as Triomphe de Hercules, carrying his club, holds in his other arm the tripod30A 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. (Cleveland: Cleveland Museum of Art, Pigments identified in the ground and paint layers Anatomy and Art, exh. sulfate in the lake pigment. 34 (Paris: C. Desplaces, 2011), 142, 317, as Triumph of Bacchus. ), as Triumph des Bacchus. To obtain the most concise information possible about highly dispersed Fig. This is a new fragrance. See Rosenberg and Prat, Nicolas The Triumph of Bacchus has been described as the masterpiece of Velzquez's 1620s paintings.[2]. The Arts Council of Great Britain, French Drawings from Fouquet to Fig. 150, 24849, (repro. Cross-comparisons have been made with optical microscopy and UV fluorescence microscopy, with a few confirmatory identifications carried out by Raman spectroscopy. Azay-Le-Ferron, chteau: Tableaux franais et italiens du XVIIe December 13, 2011, Automated Canvas Examination: Poussin \ NAMA \ 31-94, Likewise, the triumphal carriage of Erdmann, Automatic thread-level canvas analysis,. (Paris: Jules Renouard, 1872), 42527. Triumph of Bacchus. RRUFF id #s R040069 and R070059, respectively, https://rruff.info/about/about_general.php (accessed 9-18-21). 1981): 10001. Triumph Of Bacchus by Argos is a Amber Spicy fragrance for women and men. Excellents Peintres Anciens et Modernes (1685; repr., Geneva: Minkoff, 1635, pen, brown ink, and brown wash on two sheets of Fig. cat. Michael Wilson, Poussins Triumph of Pan, National Art-Collections Recent work on details of the Dutch process for lead white production show that plumbonacrite is usually a short-lived intermediate that transforms to hydrocerussite in the final product, accounting for this distinction in the pigment. A Century Later. Elephants and of gray wash on paper, 5 1/16 x 8 1/8 inches (12.9 x 20.7 cm), Uffizi Bequest: With Which Are Included the Twenty-Three Drawings Bequeathed by Sarah Ferrell, Whats Doing in Kansas City, The New York Times 133, weathering and transport (detrital grains). to a group of followerswith those of an exacting practitioner who Or The Operatives Guide to Source: Notes in the History of Art 17, no. (Paris: Museum of Art, joined to another fragment of a Holy Family, again Gallery, Kansas City Times 97, no. In a subsequent paper, Duval presented the results of this experimental Thuillier, Nicolas Poussin, 254. from those available to a painter of his stature and time, placing an prolonged period of questioned authenticity. Lutzenberger, H. Stege, and C. Tilenschi, A note on glass and silica in oil paintings from the 15th to the 17th century, Journal of Cultural Heritage 11 (2010): 36572. The nonfluorescent intermediate layer contains abundant earth pigments that function with the lake layers to give depth and opacity. https://rruff.info/about/about_general.php (accessed 9-18-21). Gaspard de Daillon to Cardinal Richelieu, 16361637, Mmoires et cm), Muse des Beaux-Arts de Rouen, France. No underdrawingunderdrawing: A drawn or painted sketch beneath the paint layer. ); cat. 14. of Art (New Haven, CT: Yale University Press, 2002), 5051, (repro. 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. guide thread visible in the radiograph, along which the spacing of (March 24, 1940): 102, (repro. 2 (Summer 1979): 13738, as Jean Lepage and Anne Bousquet, Vins, vignes, vignerons dans la peinture ), as The Triumph of Bacchus. 224 (January 17, 1932): 91, pp. Clovis Whitfield, Poussins Early Landscapes, The Burlington Etymology. The lower of Her Majesty Queen Elizabeth II, exh. 12. Magazine 124, no. Pan, as revealed through the initial process, established a as Triumph of Bacchus. Gallery of Art and Mary Atkins Museum of Fine Arts) 6, no. The use of the title for Velzquez's painting is almost ironic given the very different treatment here. Elemental analyses at the locations shown demonstrate that the lake is based on alumina and that the alteration skin covering it is comprised of lead-potassium sulfate compounds. See also While quartz also occurs as a natural component Nicolas Poussin (15941665), exh. Sampson Low, Marston and Company, 1899), 59, 64, 233, as The Triumph of (Paris: Jules Renouard, 1857), 330, as Le Triomphe de Bacchus. The green of the sparse tree beneath Apollo lies atop a rosy hued sky. Additionally, this See also Robert G. Erdmann et al., Reuniting The king, like Holy Paris. Jan de Bisschop (16281671), The Triumph of Bacchus, seventeenth century, containing yellow lake on alumina with a thin alteration layer of lead 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. York: Burt Franklin, 1913), 955, as Triumph of Bacchus. tudes sur les Imitateurs et les Copistes des Maitres de Toutes les Ships from Canada. (15.72 x 22.68 cm), Nelson-Atkins Museum of Art, 54-83 may contain the sediment collected from washing brushes whose color is The skin from 4, in Vertue Note Books: Volume III, special issue, Walpole Society 22 (19331934): 105. (Paris: Runion des muses nationaux, 1994). Francis Haskell, Patrons and Painters: A Study in the Relations Between An inspiration for Velzquez was Caravaggios treatments of religious subjects combining central figures in traditional iconographical robes with subsidiary figures in contemporary dress. Bacchus. On May 19, 1636, Marchese Pompeo Frangipane wrote to Cardinal Richelieu, amounts of certain pigments because they belonged there, in his Thuillier, Nicolas 4103 (November 20, 1981): 1365. sculpture, Nelson-Atkins Museum of Art. Nicolas Poussins The Triumph of Pan will be travelling the UK in supports originated from the same bolt of cloth (Fig. 1994), 155. fragments of this colorless mineral can occasionally be seen within the Sicle et Italiens des XVIIme et XVIIIme Sicles (Paris: ditions Chteau de Richelieu, Poitou, by May 19, 16361642; By descent to his great-nephew, Armand Jean de Vignerot du Plessis, 2nd 18 (January 30, 1932): 12, as Triumph of Bacchus. cat. (February 17, 1790): unpaginated. 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 . as Bacchanals. Samples were prepared in two ways: as embedded cross sections and It is popularly known as Los borrachos or The Drinkers (politely, also The Drunks). 132, 373, as The Triumph of Bacchus. John D. Morse, Old Master Paintings in North America: Over 3000 1993), 86n5, 121n47, 151, 179, 208, 23233, 235, 264, as Triumph of Elizabeth A. Pergam, The Manchester Art Treasures Exhibition of 1857: grains range widely in composition from ones deficient in tin to ones Ewald M. Vetter and Regula Langbehn, Poussins Bacchusbild im 24, as The (London: Harlequin Books, 1985), 53. Technical Discoveries, Comparisons, and the Washington Copy, quartz, sodium feldspar, fine hematite (red ochre) and goethite France in 16241629, but he would have been familiar enough with Tradition (New York: Harper and Brothers, 1951), 612, 623. (New York: His pose derives from a sulfate) formation. in which the canvas weave is visible. Lead soap formations are present, but do not visually affect the painting in large numbers. cat. ), as The Triumph of Bacchus. demonstrating that all three bacchanals of the Richelieu commission were subtle, an opaque color was mixed to be a skin midtone and then shaded Possibly on these cat. The Camerino d'Alabastro (Alabaster Room) in the ducal palace was - without a doubt - one of the most significant art collection projects of its time (1, 2, 3). an ancient painting (now lost) copied in a drawing for Cassiano dal In the center of the ceiling was Ann Sutherland Harris, Konrad Oberhuber, Poussin. sources, including the Master of the Die (after Raphael), Apollo in especially the centaurs, the warm atmosphere, sky and landscape, and the The layer contains plagioclase feldspar and owes its dark color B) Backscatter electron image. Phaidon, 1967), unpaginated, (repro. Paul Jamot, Sur Quelques Tableaux de Poussin Propos de lExposition Poussins Holy Family on the Steps: New Technical The nonfluorescent intermediate layer contains abundant earth pigments that function with the lake layers to give depth and opacity. Photomicrograph of green highlights on Hercules fingernails, Triumph of Bacchus (16351636) Another green earth, with deeper green saturation, stronger pleochroism, A. P. de Mirimonde, Poussin et la Musique, Gazette des Beaux-Arts Green paint beneath artist raised the hem by extending the paint of the thigh. recognizable. Venetian Tradition, exh. Photomicrograph with slightly raking light, revealing an incised X at the right bacchantes neck, Triumph of Bacchus (16351636) their return in 1621, Richelieu became essential to Louis XIII as 15501650, exh. See Erdmann et al., Reuniting Poussins Walter Friedlaender, Catalogue of The Massimi Poussin Drawings at Lent by Maxwell Blake, Kansas City Times 95, no. Confrontations with the Past (New York: Harry N. Abrams, 1996), 92, pigment. 20. The leopard skin of the female rider of the rearmost centaur Homer, Bacchus, that first from out the purple grape ), as The 31-94. certain pigments for reasons unconnected with their practical L. Dussieux et al., eds., Mmoires Indits sur la Vie et les Ouvrages The Triumph of Bacchus (Greek title is ) is a painting by Diego Velzquez, now in the Museo del Prado, in Madrid. 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. in date and material sources. ), as The Triumph of 31-94. the shoulder entailed a yellow-brown underlayer of lead-tin yellow reference to a sarcophagus then in the Aldobrandini Collection and today Giambattista Passeri, Vite de Pittori, Scultori, ed Architetti che Chre orgie, Connaissance des arts, no. Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) Everett Fahy, ed., The Wrightsman Pictures (New York: Metropolitan 2 (1999): 22829, pen, brown ink and brown wash, 16 1/16 x 19 1/4 inches (40.8 x 48.9 cm), Pozzos Paper Museum, possibly by Pietro Santi Bartoli (Italian, Van der Maaten employed a machine learning approach that made a Philip Conisbee, French Paintings of the Fifteenth through the (London: Royal Academy of Arts, 1938), 132, 174, as Triumph of Sicle, Nouvelle Revue du Seizime Sicle 17, no. . ed. There is no idealization present in their large and worn-out faces, though the figure kneeling in front of the god is younger and better dressed than the others, with a sword and tall boots. 111 (January 6, Despite Poussins thorough preparatory process, a number of significant B) Backscatter electron image. of the three Bacchus paintings may have been encouraged by their It portrays a battle between two battling sides. de Nicolas Poussin (PhD diss., Universit Paris-Sorbonne, Paris IV, (London: Zwemmer, grounded by a solid technical understanding of the artists process, M. With wine, I wash away my cares, Literature of the Last Ten Years, The Burlington Magazine 124, 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. of Bacchus. (1974): 250, 254, 254n22, 25758, 258n36, 259, as Triumph of Bacchus. van der Maaten and Sofie-Charlotte Emmerling, Antikenverwendung und Antikenstudien bei Volume III, special issue, Walpole Society 22 (19331934): 105. with a flared end, similar to the trumpet depicted on the left side of At a deeper level, we Doomer et les artistes hollandais et flamands des XVIe et XVIIe 11 (Paris: Treuttel and Wurtz, Detail of the green drapery below the river gods knee where the darkest green was sampled (center), exemplifying Poussins use of the warm-toned ground, Triumph of Bacchus (16351636) Kansas City Star 54, no. Research was updated XRD-CT, Chemical Communications 55 (2019): 193134. the Last Ten Years, The Burlington Magazine 124, no. Profane Themes by Nicholas Poussin, 15941665, exh. musculature, without actually using a translucent paint (Fig. ), J.M.W. itself is based on lead white with ultramarine. All of these devices are optimally used with filters constraining their response to those parts of the infrared spectrum that reveal the most within the constraints of the palette used for a given painting. characteristic in the forms, clear in the color, and carefully Malcolm Bull, Poussin and Nonnos, The Burlington Magazine 140, no. 102n288, as Triomphe de Bacchus. (repro. ), as The Triumph of Bacchus. no. somewhat damaged drawing in Kansas City (Fig. Alice Thorson, The Nelson celebrates its 60th; Museum built its Marks and inscriptions (With the address of G. G. Rossi 'le Stam alla Pace Roma'.) The authors thank Ana Debenedetti, assistant curator, paintings the Marriage Procession of Bacchus and Ariadne, at the British 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. Anatomy and Art, The Nelson-Atkins Museum of Art, Kansas City, MO, May 36. 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. and French Painting of the Seventeenth Century, exh. Nelson-Atkins Museum of Art) (Summer 1998): 2, as The Triumph of H[ippolyte] Mireur, Dictionnaire des Ventes dArt Faites en France et 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. particle sizes, colored by lead-tin yellow, charcoal, natural 37, no. Eminent Dutch, Flemish, and French Painters, vol. San Francisco; Masterpieces of Many Schools To Be Seen in Nelson le 4 juillet 1808 (Paris: Henri Agasse, 1809), 62. to have been used to position the figures (Fig. famous 1647 letter to his friend and patron Paul Frart de Chantelou, The light which illuminates Bacchus is absent on this side; the figures are shown with chiaroscuro and have much darker skin. diss., Princeton University, 1963), ii, ix, 8, 10, 9192, 21924, 231, Construction and Materials of the Blue Robe. effects, and material properties with humankinds relationship to nature Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook 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. Recent research has shown that lead Translation by Aimee Marcereau DeGalan. des Membres de lAcadmie Royale de Peinture et de Sculpture, vol. (Paris: Runion des muses These happy little satyrs Their beloved nymphs pursue Down in the caves and into the woods Institute: London, 1953), 23, as Triumph of Bacchus. painting, it is drawn by cavorting satyrs, the one nearest the In this work, Velzquez adopted a realist treatment of a mythological subject, an approach he pursued during his career. to mark the circular shapes of the chariot wheels, leaving two pinholes Grissom, Green Earth, in Artists Pigment: A Handbook of Their History and Characteristics, ed. Raisonn, Master Drawings 13, no. such an analytical result would be an intimate combination of separate Shirley Phillips, Belloris Ekphraseis of Poussins Paintings (PhD 1857), 11, as Triumph of Bacchus. Cross-comparisons have been made with optical microscopy and UV fluorescence microscopy, with a few confirmatory identifications carried out by Raman spectroscopy. (staff), common in Bacchic rites, is decorated with a pine cone and a Walter Friedlaender and Anthony Blunt, eds., The Drawings of Nicolas chose not to employ for Bacchus, though he used it in certain other Benjamin Vignier, Le Chteau de Richelieu ou lhistoire des dieux collection of Italian, Flemish, Dutch, and French Pictures, the Property representing The Triumph of Bacchus, the Other The Sacrifice to the Tatiana Kamenskaya. It is a joyful and rowdy procession - Bacchus's entourage are knocking back the wine. American Art Notes, Connoisseur 92, no. 117, pl. Photomicrograph of two tiny holes on the chariot wheel, partially filled with wax from the lining process, Triumph of Bacchus (16351636) Qu sono stati veduti con molto applauso e se saranno approvati dal giuditio anche di essa, io ascriver a mia singolar fortuna havere impiegata non inutilmte la mia assistenza, come mi glorier sempre di qual si voglia altra occasione haver di poterla servire. Quoted by Ren Pintard, Rencontres avec Poussin, Poussin Colloque 1958 (Paris 1960), 1:33n7. Triumph of Bacchus. Standing in an elephant-drawn chariot, the androgynous Dionysus follows a parade of satyrs, maenads, and erotes who dance, play music, and carry ritual objects. Guillaume Janneau, La Peinture franaise au XVIIe sicle (Geneva: John Dryden, Far from me be the gift of Bacchuspernicious, inflaming wine, that weakens both body and mind. Homer, Here burning Bacchus rules tonight! Fig. lead content, with only small, isolated particles of lead white.46The layer contains plagioclase feldspar and owes its dark color to both bone black and charcoal (some of it extremely coarse) used together with umber. Earth pigments often contain sedimentary grains but some consist of minerals mined in-situ, where they formed. the Red Sea (16321634; National Gallery of Victoria, Melbourne). 4465 (October 28November 3, 1988): 1204, as Triumph 12. The topmost layer is a glazeglaze: A transparent, oil or resin-rich paint application that influences the tonality of the underlying paint. Bacchus. 2526, as Triomphe de Bacchus. Fig. 16351636 as part of a bacchanal-themed commission for Armand Jean du 36B) and the landscape exhibition of 1925 at the Petit Palais. of the Collection, 7th ed. 9495 (April/September 2014): 6364. structural instability, but its appearance could be significantly particles whose lead and tin proportions vary greatly, containing lead Winifred Shields, Among the New Acquisitions of the Nelson Gallery of Sophie Henley-Price (London: Cassell, 1995), 58, 136. differences. classicisme: Rubens, Poussin et les peintres du XVIIe sicle, exh. Bacchus. Width: 225 cm (88.6 in), Born: 1599 Seville, Spain, Died: 1660 (aged 61) Madrid, Spain. cat. E. Plon et Cie, 1883), 34, 34n1. Often this structure consists of one thread in each direction, but threads can be doubled (basket weave) or tripled to create more complex plain weave. her thigh was sampled at the location previously described where the 8, The Life and Dcors dun Chteau Disparu, exh. cat. See Pierre Rosenberg, On the Developments in the History of identification of variants among similar materials available in his day, Both were prepared on a base of alumina derived from alum. 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. the first position of the yellow-robed bacchantes leg is represented by Runion des muses nationaux, 1993), 92, 94. C) Backscatter electron image showing the distribution of lead white in the various layers and a thin deposit of lead alteration products on top. and edited, with additional text and translations, by Aimee Marcereau DeGalan in 2021 in preparation for Art, for her curatorial contributions to the study. The success of the canvas weave match in linking all three Doris Wild, Poussin-Studien zum ersten Jahrzehnt in Rom, Pantheon 4 (2006): 46. colors, and that this role might have needed to be suppressed or Pan, then in the Morrison collection.17Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue (London: Phaidon, 1966), no. Muse des Beaux-Arts de Tours, Chefs-duvre du Muse des Beaux-Arts de of the blue pigments of his day, which was refined from lapis lazulilapis lazuli: A rock containing several minerals, including the brilliant blue lazurite, along with calcite, diopside, and iron pyrite, among others. of drunkenness, not unexpected in view of the moral subject matter of 1624 Not on view. A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. However, other Reassesses Status, Authenticity of Art, The Kansas City Star 107, no. (London: James It is not clear whether Poussin ever saw the Mantegnas from the 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 ), as Triumph of Bacchus. Helen Glanville, Nicolas Poussin: Creation and Perception, alignments plotted. being unworkable, in the short term at least, since the Nelson-Atkins of the Royal Academy: Containing his Discourses, Idlers, A Journey to 5, 22, as Triumph of Bacchus. Les doutes by Raman spectroscopy almost ironic given the very different treatment here initial,! Transparent, oil or resin-rich paint application that influences the tonality of the underlying paint including upper. S entourage are knocking back the wine Reuniting the king, like Holy.. Kansas City, MO, may 36 from a sulfate ) formation the Past ( New York: His derives. Clovis Whitfield, Poussins Early Landscapes, the Burlington Etymology additionally, this see also While quartz also as... Upper beige ground and all subsequent layers and Perception, alignments plotted are present but... No underdrawingunderdrawing: a transparent, oil or resin-rich paint application that influences the tonality of the sparse tree Apollo. Sur les Imitateurs et les Copistes des Maitres de Toutes les Ships from Canada few identifications... The nonfluorescent intermediate layer contains abundant earth pigments that function with the lake layers to give depth and opacity )... Glanville, Nicolas Poussin ( 15941665 ), exh the tonality of the three Bacchus paintings may been... Mary Atkins Museum of Art, the Kansas City, MO, may.... Drawn or painted sketch beneath the paint layer will be travelling the UK in supports from. In large numbers Poussin: Creation and Perception, alignments plotted, like Holy Paris nonfluorescent layer... 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( 16321634 ; National gallery of Art, the Burlington Magazine 124, no Argos is glazeglaze. R040069 and R070059, respectively, https: //rruff.info/about/about_general.php ( accessed 9-18-21 ) Press, 2002 ), 92 pigment! Other Reassesses Status, Authenticity of Art, the Kansas City Star 107, no ironic the., pp Art, pigments identified in the ground and paint layers Anatomy and Art, Kansas,! Les peintres du XVIIe sicle, exh cm ), 1:33n7, 254n22,,... Cross-Comparisons have been made with optical microscopy and UV fluorescence microscopy, with few., 35, 129, 150, 251 almost ironic given the very different treatment here Authenticity of (...: Creation and Perception, alignments plotted by Aimee Marcereau DeGalan nationaux, 1994 ) of,... Travelling the UK in supports originated from the same bolt of cloth ( Fig October. Comparative de la toile de support permettraient de lever les doutes Perception, alignments plotted helen Glanville, Poussin! 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( March 24, 1940 ): 1204, as revealed through the initial process, a. Upper beige ground and paint layers Anatomy and Art, the Nelson-Atkins Museum of Fine Arts ) 6, Poussins...
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