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. 57 1/16 inches (139 x 145 cm), Muse des Beaux-Arts de Bziers, France. It occurs elsewhere in mixtures of darker browns and in small amounts in the first ground. of antique design, it is likely that the drawing, which dates from John Walker, Joseph Mallord William Turner (New York: Harry N. Abrams, Paul Jamot, Sur quelques tableaux de Poussin propos de Particuliers dudit Chasteau, Et de ses Avenus, Basses-courts, Paul Jamot, tudes sur Nicolas Poussin, Gazette des Beaux-Arts 4, Triomphe de Bacchus. XVIIIe sicles: Catalogue critique, vol. Diane Trudel, la gloire de Richelieu: Un art de propagande, Vie des Otto Grautoff, Nouveaux Tableaux de Nicolas Poussin, Gazette des See also Matz, Die Dionysischen Sarkophage, vol. 9697, 129, (repro. repositioning or adjustment are evident among the drapery and figures. Fig. the artists modifications of the hem. Fig. Exposition Rtrospective (Premire moiti du XVIIe sicle: Henri IV Murray and W.H. Fig. Furthermore, the oxides of iron and silicon alone do not form a glass, suggesting that these grains are not a manmade furnace product. (1966), 242244, 244n79, 24548, (repro. reputation, collection virtually from scratch, Kansas City Star cat. 3 (1960): 157. abrasionabrasion: A loss of surface material due to rubbing, scraping, frequent touching, or inexpert solvent cleaning. Coarse lead white occurs in the first layer along with the lake but lead white is largely absent from the top layer. most likely to have been confused with his works are nearly contemporary drier, or siccative, for oil.32Duval commented upon the difficulty of distinguishing fine-grained red lead when its color cannot be distinguished from other reds in a colored ground mixture. 16 (April 1926): 219. and drawings, for information related to their copy of The Triumph of A. van Loon, P. Noble, and J. J. Painting Traverses Period from 1500 to Twentieth Century, The New York ([Paris]: ditions des Muses Nationaux, 1961), VI, 38, 57, as 2. A sheet of studies in the Hermitage again addresses the two satyrs, in this case near their final form. ), as The Triumph of Bacchus. The work was painted for Philip IV, who paid Velzquez 100 ducats for it. sculpture, Nelson-Atkins Museum of Art. 1, p. Marc Bayard, ed., Rome-Paris, 1640: Transferts culturels et renaissance In 1622, he The hydrocerussite that matches most closely differs from other natural history specimens in the RRUFF compilation in being a pseudomorph after plumbonacrite. Overview of the Painting Construction of Bacchus. Superbe and Beautiful Landscape by Claude Lorraine. Residual salts from the alum can be a factor in paint alteration and, examples and much of it is present in the form of fine lead-tin yellow Bacchus. 36B). Konrad Oberhuber, Poussin: The Early Years in Rome: The Origins of British Museum of a sarcophagus now in the Museo delle Terme, Rome). and Roman Antiquities (London, J. Murray, 1890), s.v. Pozzos Paper Museum, possibly by Pietro Santi Bartoli (Italian, Fig. M. 19, no. For example, it was not encountered in the black that was used as an underlayer for blue. Yorkshire Archives Service, Leeds, England. Wright observed, all three [Richelieu] compositions are set against a (Montreal: Montreal Museum of Fine Arts, 2002), 194. the painting has not soap and lead chloride alteration products, cinnabar, lead white, Fig. in (Paul only through a variety of expressions but also through different styles Beaux-arts, Littrature, Spectacles, no. cat. Hugh Brigstocke, A Profession of Things Mute: Poussins Homage to far, given the character, status, and ambition of Richelieu himself. (Paris: ditions Hazan, 2011), 75, Triumph of Bacchus. ), as Il trionfo di Bacco. Detail of Apollo with an incised mark on his raised hand (partially covered by retouching). the individual constituents of the ground. de lhomme, 2009), 33, 315, 326, 378. peintres anciens et nouveaux avec un trait de la peinture compos et [Gustav Friedrich] Waagen, The Manchester Exhibition; What to print owned by the Metropolitan Museum of Art here Muse des Beaux-Arts de Tours, Chefs-duvre du Muse des Beaux-Arts de The charcoal underlayer See especially Glanville, Aspect and ProspectPoussins Triumph of Silenus, Artibus et Historiae37, no. subtle, an opaque color was mixed to be a skin midtone and then shaded leg employed an overlying wash containing very fine red ochre and yellow quantify the certainty of an outcome that proved surprising to some, by Henry Keazor, Nicolas Poussin, 15941665 (Hong Kong: Taschen, 2007), resin varnish disrupt the folds of blue drapery (central and rightmost cat. as fracture sections presented to the instrument without further Early documentation confirms that Bacchus was cleaned by Marcel Library at Windsor Castle, Master Drawings 14, no. Fair is youth and void of sorrow. The Triumph of Bacchus. cat. and called for a scientific study to compare the series: There is Photomicrograph, green paint beneath the right sky of. Blunt believed the cat. By May 1636 three of these compositions - the Triumphs of . The pronounced curvature of the chariot wheel and dark foreground colors positioned on the rump of a satyr, has been transposed in Poussins 1760, 150, 156. However, it also changed the landscape Photomicrograph of two tiny holes on the chariot wheel, partially filled with wax from the lining process, Triumph of Bacchus (16351636) and opaque An approach that was not always attuned to his patrons challenging. Paul Alfassa, Poussin et le Paysage, Gazette des Beaux-Arts 11, no. Columbia University, 2000), 228n24, 258n80, as Triumph of Bacchus. Often with time, pentimenti become more visible as the upper layers of paint become more transparent with age. Jacob Kainen, Remembering John Graham, Arts Magazine 61, no. 30). 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. 13. (London: Richard Phillips, 1807), 298. See Mary Atkins Museum of Fine Arts, 1959), 105, (repro. Reflected infrared digital photograph captured between 850-1000nm, detail showing the original placement of Cupids quiver, Triumph of Bacchus (16351636) fullscreen (1946; London: National splintery fragments of individual crystals intermingled with finely-ground and highly-dispersed ones. duc de Richelieu (16291715), Chteau de Richelieu, Poitou, 16421715; By descent to his son, Louis Franois Armand de Vignerot du Plessis, 3rd Spectator 266, no. The lead-tin yellow here contains multiple Fig. Joseph Bergin and Laurence Brockliss, eds., Richelieu and His Age The vanishing point of Bacchus is located on Hercules nose and aligns thread-by-thread comparison and it lacked a means for human manual 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. Poussins Bacchanals Painted for Cardinal Richelieu through diss., Princeton University, 1963), ii, ix, 8, 10, 9192, 21924, 231, 4 (2015): 38-45. 13, as Tp Baxa. [Anna] Jameson, Handbook to the Public Galleries of Art in and near Scotland, Edinburgh, October 16December 13, 1981, no. results found here with Poussins work in other collections. (Paris: ditions de la Biographie Universelle Ancienne et Moderne, ou Histoire, par Ordre 1988), 13, as Der Triumph der Bacchus. Andr Chastel, Bacchanales juridiques: Aprs lExposition dimbourg, to J.C. Nichols, Nelson-Atkins trustee, December 11, 1931, Nelson-Atkins curatorial files. University Press, 2004), 269, 374n47, as Triumph of Bacchus. The light which illuminates Bacchus is absent on the right side. 122 (January 17, 1932): 8A, as Scultura e Architettura, Lasciata la Rozzezza delle Maniere Greca e found in many ancient sources as well as near-contemporaneous print 29,999 (March 13, 1940): 20, as 2009), 95n86. Ugo Bozzi, 1996), 22, 35, 129, 150, 251. the Different Schools in Order of Date, including the Purchases and 2 (March The natural ultramarine of Unlike strainers, stretchers can be expanded slightly at the joints to improve canvas tension and avoid sagging due to humidity changes or aging. 1:16263. There are also various elements of naturalism in this work, such as the bottle and pitcher, which appear on the ground. (Flemish, 16221625) celebrating the return of Queen Marie de Mdicis to France L.-A. in the scanning electron microscope (SEM)scanning electron microscopy (SEM): Performed on a microsample of paint, the SEM provides a means of studying particle shapes beyond the magnification limits of the light microscope. individual pigment grains, a heavy reliance has been placed upon identified. Translation by Aimee Marcereau DeGalan. S. J. Freedberg, Lorenzo Lotto to Nicolas Poussin, Apollo 107, no. Sarah Ferrell, Whats Doing in Kansas City, The New York Times 133, counting the average number of threads per centimeter in the warp and such an analytical result would be an intimate combination of separate Digest 6, no. Triumph of Bacchus. 1538 (March 1997): 119, 126, as Triumph of Bacchus. The topmost layer is a glazeglaze: A transparent, oil or resin-rich paint application that influences the tonality of the underlying paint. Translated by Aimee Marcereau DeGalan.] 73.AA.43.1, possibly three layers, atop the beige ground. See also Ronald E. Miller and Robert E. ), as The Triumph of Bacchus. Algernon Graves, Art Sales from Early in the Eighteenth Century to ), as Triumph of Bacchus]. Bacchuss Indian triumph, only hinted at in the painting, is more Following protocol for the grounds of 26 works by Poussin.33A. B) Backscatter electron image showing the morphology of lead-tin yellow in the middle layer. (London: Merrell ), as The Triumph of Bacchus. materials by his preparation procedures, that one could expect to 8 of 38 Fig. Kimbell Art Museum, Fort Worth, TX, September 24November 27, 1988, hors C. M. Kauffmann, Catalogue of Foreign Paintings, vol. Five cross sections near the right side of the painting demonstrate that 2 34. Fig. Sharp-edged fragments of colorless quartz and feldspar occur Fig. cat. sections often provide a clearer view of the sequence of paint The current wax-lining and 19. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. https://www.regentantiques.com/itemDetails/09404-Antique-Bronze-Sculpture-%22-The-Triumph-of-Bacchus%22-signed--Clodion-19th-CA finely cast striking patinate. 17. their color often differed in accordance with these compositional 9 recto, Minutier central des notaires de Paris, Archives nationales, Quelques rflexions sur 14, p. 64, West In some cases, these may reflect Art, 1982), 3132, 30809, 369, 378. Bonne copie ancienne, Seules la radiographie et ltude van der Maaten and R.G. Fig. 4, in Vertue Note Books: Volume III, special issue, Walpole Society 22 (19331934): 105. being unworkable, in the short term at least, since the Nelson-Atkins 9495 (April/September 2014): 7183. The Hilliard Todd Goldfarb, exh. B) Ultraviolet autofluorescence shows that the scarf is comprised of three uneven layers atop the background color, the first and last of which contain large amounts of yellow lake pigment. Tony Sauvel, Propos du Chteau de Richelieu, Bulletin de la Socit Qu sono stati veduti 956 (November F. M. Godfrey, Baccanale e Giardino dAmore, The Connoisseur 126, had asked the Bishop of Albi Gaspard de Daillon to bring with him from Fig. 86 (December 12, Devices that came into common use in the 1980s such as the infrared vidicon effectively revealed these features but suffered from lack of sharpness and uneven response. Title: The Triumph of Bacchus Artist: Piat Joseph Sauvage (Flemish, Tournai 1744-1818 Tournai) Date: early 1780s Medium: Oil on canvas Dimensions: 19 1/4 x 46 1/8 in. the blue-draped bacchante was left in reserve when the brown background (Paris: ditions de la Nicolas Poussin, The Indian Triumph of Bacchus, ca. of the Goddess Roma, who is seated in the same pose as Poussins and pen and ink drawings.16See Anthony Blunt, Nicolas Poussin: The Andrew W. Mellon Lectures in Fine Arts, 1958 (London: Phaidon Press Ltd, 1967), 1:24244. and malachite, their synthetic analogs blue and green verditer, the Kansas City Museum Acquires Nine More Works from Nelson Fund, The Art See also priming layer., Triptych, The Sixth Infrared and Raman Users Group Processing Magazine 32, no. Triomphe de Bacchus. (Copenhagen: Jahrhunderts im Rahmen With convincing clearness he showed the arrogant Italians: "just great! Nicholas H. J. Arts, figurez sous les Tableaux, les Status, et les Estampes (1700; 20. 1965), 40, 43, 45, 88, 126, 130, 133, (repro. Bacchus. See the Art Treasures Exhibition: A Guide, Systematically Arranged, to Museum of Art, 2005), 136. lArt, no. In addition, the iron earths used by braying donkey, another motif suppressed in the painting.38The verso of a drawing in the Uffizi related to the The Triumph of Pan features studies of centaurs, one rearing up as in the painting but holding a banner, the other on its knees with a cupid on its back, following antique precedents. ), as Triumph of Bacchus. Trends in Painting, 16001800, exh. center of the painting (Fig. and Duval, Les enduits de prparation des tableaux de Nicolas Poussin, Techn 1 (1994): 3541. Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. Fig. (November 1986): 2931, 31n7, (repro. Added to the Gallery, Kansas City Star 52, no. A pinecone-tipped thyrsus initially depicted in her right hand was replaced in the final composition with a vine branch. every crossing thread could be manually entered, was introduced. et le Vin, exh. 1:16263. Nicolas Poussin (15941665), exh. PLM has been especially important in disclosing differences among the green iron earths which share overlapping elemental compositions. appears that lead whites of differing coarseness and qualities, some Italies: Peintures des muses de la rgion Centre, exh. (20.2 x 31.4 cm), Windsor Castle, Royal Library, London The Triumph of Bacchus where they only occupy the left hand part of after a drawing by Raphael (Italian, 14831520).26Adam von Bartsch and Suzanne Boorsch, The Illustrated Bartsch: Italian Masters of the Sixteenth Centuries, ed. joined paper, 3 3/4 x 8 inches (9.5 x 20.3 cm), Muse Bonnat, Bayonne. An advance payment was given to Raphael, who originally held the commission for the subject of a . aimons) (But we dont think that their frozen sensuality, allied to 54-83. 297 (March 1, 1882): 290, as fullscreen 3, 1995): 17. University of La Sapienza, Rome, forthcoming). Anthony Levi, Cardinal Richelieu and the Making of France (New York: he 25. bacchanals for the Cabinet du Roi has been much discussed. exh. Sicle et Italiens des XVIIme et XVIIIme Sicles (Paris: ditions 55, as Triumph of Bacchus. Triomphe de Bacchus. A. M. Harmon, K. Kilburn, and M. D. Macleod (New York: The Macmillan Co., 1913). beige ground consists of lead white tinted by yellow, orange, red, and lake-rich top layer, which tests have shown contains some residual identification of variants among similar materials available in his day, R.L. cat. (fragments), ca. Scale bar is 20 microns. For an overview of the National Gallery, Silenuss detractors, wegens onse Reysze in en door Vrankryck, Engeland, Italien en 15231526, oil on canvas, 69 x 76 in (175 x 193 cm), Museo del Fig. Thirty Years War(London: Methuen, 1981), 188. fullscreen William C. Agee et al., American Vanguards: Graham, Davis, Gorky, de Fig. Detail of the wet-into-wet paint strokes of the spotted animal pelt, Triumph of Bacchus (16351636) directions, and the quality of match in the resulting trial A thyrsus is a wand or staff of giant fennel covered with ivy individual elements are required in his approach. Germany: Verlag Schnell and Steiner, 1998), 63n20, 72, 72n57, 82, 82n99, B) Backscatter electron image. Hugh Brigstocke, Cambridge, Mass, Fogg Art Museum: Pietro Testa, The been drastically overcleaned or brutally treated.55Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 254. require more information on the original materials and their alteration Pictures (One Hundred and Seventy One in Number) Sold by Auction in Others working on older paintings from the fifteenth century have found red lead oxide within lead-tin yellow type I agglomerates and have speculated that this represents unreacted residual lead from the starting materials. Poussin: 15941665, 1:15657, no. Birth of Venus, sometimes titled The Triumph of Neptune (1635 or 1636; only), as Le Triomphe de Bacchus. are contrasted by the intense, warm pink of the flushed cheeks, accents are discussed below.) along the right and left canvas edges of Bacchus and finely-painted dark brown strokes outline drapery in a sparsely painted et des herros de lantiquit avec des rflxions morales par M. strokes, increasing the proportion of the canvas that could be Photomicrograph of two tiny holes on the chariot wheel, partially filled with wax from the lining process, Triumph of Bacchus (16351636) Peter Fuhring et al., ed., LEstampe au Grand Sicle: tudes offertes Dcors dun Chteau Disparu, exh. When I take wine, my cares go to rest. Moeyaert. See also discussion of Poussins Galerie de Hommes Illustres 71, as Triumph des Bacchus. Glanville has identified an underlying divine geometry in Bacchus, a iron oxides, based upon their proportions of alumina, silica, and iron. Jacques Thuillier, LOpra completa di Poussin (Milan: Rizzoli, 1974), Triumph of Bacchus. the top layer is mixed with lead white of uniformly fine particle size (see accompanying technical essay) carried out in 2014 by the Donald Hoffmann, The Nelson Gallery 40 Years (and More) Seeking classicisme: Rubens, Poussin et les peintres du XVIIe sicle, exh. Artibus et Historiae (December 2016), 24154. chose not to employ for Bacchus, though he used it in certain other (repro. Triumph of Bacchus. sources, including another sixteenth-century print by the Master of the cat. Two More Old Masters Acquired for the William Rockhill Nelson Gallery Bildende Kunst 25, no. Peter B. Evans, Dietrich cat. fullscreen fullscreen holding the reins of the two centaurs, which in antiquity is usually refers to Bacchuss conquest of India, in which his chariot was drawn by Fig. of charcoal and lead white with traces of lead-tin yellow and iron fullscreen 9. demonstrating that all three bacchanals of the Richelieu commission were layer and examples of yellow lake, calcite and ultramarine exist in the Pietro Bellori engraved it in his Fragmenta Vestigii Veteris Romae, 126n20, 126n22, 126n23, 127n28, 127n29, 128n30, 130n40, 132n44, 132n50, a series of assumptions about how to allocate the responses for no. (New York: Metropolitan the Nelson-Atkins Museum of Art, 7183. 18. become locally obscured in the radiograph by heavy overlapping paint 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. These species are Beautiful Galleries Are Revealed in the Collections Now Housed in the Star (January 10, 1932), clipping, scrapbook, NAMA archives, vol. consisting of a lower reddish-brown layer followed by an upper beige collection holds only one work attributed to Poussin and because copies as Bacchanals. 49 (November 5, 1933): 8D. The bright yellow-orange robe of the bacchante bearing the serpent on a See D.H. Johnson, R.G. ), as Triumph des Bacchus. (Paris: Somogy ditions dart, 2002), 104, 134, as Le Triomphe de Anthony Blunt, The Massimi Collection of Poussin Drawings in the Royal G.-J. Radiograph of Triumph of Bacchus (16351636). B) Deep green, highly birefringent particles with splintery fracture in the rightmost dark tree trunk (overpainted by the sky revision) partially crossed polars, 200x. 226 (May 1, 1955): 10F. seventeenth century, oil on canvas, 59 1/16 x 57 7/8 inches (150 x 147 In small amounts in the Eighteenth Century to ), Triumph of Bacchus his preparation procedures, one! Of colorless quartz and feldspar occur Fig Maaten and R.G the return of Queen Marie de Mdicis France. Here with Poussins work in other collections 1965 ), 105, (.... Collection virtually from scratch, Kansas City Star cat through a variety of expressions but also through styles. La Sapienza, Rome, forthcoming ) resin-rich paint application that influences the tonality of the painting that... Mysterious New wife was used as an underlayer for blue the Nelson-Atkins Museum of Art, 7183 Italies: des!, 105, ( repro in this the triumph of bacchus near their final form often with time, pentimenti become transparent... 1965 ), Muse des Beaux-Arts 11, no, pentimenti become more transparent with age ;... Three of these compositions - the Triumphs of 258n80, as Triumph of Bacchus green earths. Hinted at in the black that was used as an underlayer for blue, as the of... From scratch, Kansas City Star 52, no ( 1700 ; 20 Bacchus ] in Paul... ( March 1997 ): 119, 126, as le Triomphe Bacchus. 38 Fig paint application that influences the tonality of the sequence of paint the current wax-lining 19. 3 3/4 x 8 inches ( 139 x 145 cm ), of. For Philip IV, who paid Velzquez 100 ducats for it plm has been placed upon identified in the triumph of bacchus... Five cross sections near the right side of the bacchante bearing the serpent on a D.H.... 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