of Bacchus. Palazzo Barberini, 2000). Table 1. 73.AA.43.1, Unlike strainers, stretchers can be expanded slightly at the joints to improve canvas tension and avoid sagging due to humidity changes or aging. Detail of the central trumpeter. 1985), 38. William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine [Anna] Jameson, Handbook to the Public Galleries of Art in and near [Antoine] J[ules] Dumesnil, Histoire des Plus Clbres Amateurs 195 (May 1978): 397. Janie C. Lee and Melvin P. Lader, Arshile Gorky: A Retrospective of 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. of lead soaps that are the product of free fatty acids in the oil medium Johnson, Jr., Whole-Painting Canvas Analysis be said to approach the pedantic, but the painting is redeemed from 137, pp. The resulting set of spacing measurements could then be shifted, thread by thread, away from the apparent best match in both directions, and the quality of match in the resulting trial alignments plotted. (Saumur: Henry Desbordes, 1681), 63, as Triomphe de Bacchus. The results of the palette study clarify the limited number of Life of Maria deMedici (Princeton, NJ: Princeton University Press, Philadelphia: A Triumph of Venus after Apuleius, Zeitschrift fr 12 (December 253, as Tp Baxa. 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. Nelson Gallery of Art Opened at Kansas City: $14,000,000 Gift of (Paris: (London: Burlington House, 1932), 81. gave me to bring here the two pictures of Poussin, I came to pass there, I have seen them with those of Monsieur de Mantua, which are good [but] do not approach the beauty, and the perfection of the two which I have brought. Artibus et Historiae (December 2016), 24154. 1986), 1:14167. Burlington Magazine 101, no. floor of the southeast corner of the chteau. not far from the Chteau de Richelieu and that Richelieu, like Rabelais, Left) Photomicrograph of Bacchus waist, showing coarse grains of vermilion, ultramarine, and green earth in the lustrous skin, 40x. For the technical thread-count study that 36. Digest 6, no. ), as The Triumph of Bacchus. raised arm suspended red drapery above his proper left shoulder (Fig. Eminent Dutch, Flemish, and French Painters, vol. climbing out of the water. 1935): 11C, as Triumph of Bacchus. ), as Triumph of Bacchus. (15.72 x 22.68 cm), Nelson-Atkins Museum of Art, 54-83 Anthony Blunt and Walter Friedlaender, Nicolas Poussin, 15941665, deep green shades, as required to suggest the translucency of skin over Let those who drink not, but austerely dine, Fig. The William Rockhill Nelson Collection, 2nd ed. indits (Paris: ditions mile-Paul Frres, 1928), 129, 129n1, 130, as Philadelphia Museum of Art, email message with the author, 2015. the Other The Sacrifice to the God of Pan; Ever Esteemed The Most Pierre Rosenberg, Les Bacchanales Richelieu: ce que lon sait et ce que lon ne sait pas (encore), in Richelieu Richelieu: Architecture et Dcors dun Chteau Disparu, ed. Hilliard T. Goldfarb, ed., Richelieu: Art and Power, exh. in Bringing the State Back In, ed. See film-based radiographs, no. Rounded grains of green earth up to the 4 (2006): 46. Gio[vanni] Pietro Bellori, Vite dei Pittori, Scultori ed Architetti 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. Pierre Rosenberg, French Master Drawings of the 17th and 18th Centuries personified as Hercules in The Triumph of Bacchus.48Delphine Robin, tude iconographique des Bacchanales Richelieu de Nicolas Poussin (PhD diss., Universit Paris-Sorbonne, Paris IV, 1998). Triomphe de Bacchus. joined paper, 9 11/16 x 6 5/16 inches (9.3 x 16.0 cm), Los Angeles Infrared reflectogram of the rightmost bacchante, captured between 1.5-1.7 microns, Triumph of Bacchus (16351636). Their History and Characteristics, ed. 15001900, exh. alumina. Nicolas Poussin, The Triumph of Silenus, 16351636, oil on canvas, 56 Pierre Larousse, Grand Dictionnaire Universel du XIXe Sicle, vol. approach distinct from ours by quantifying the average major element god. Van der Maaten employed a machine learning approach that made a A pinecone-tipped thyrsus initially depicted in her right hand was replaced in the final composition with a vine branch. Erdmann, Weave Analysis of Paintings on Canvas from Radiographs, history and contends that the drier and colder tonalities of certain 31April 20, 2003, no. Erdmann, and C.R. (Paris: Jules Renouard, 1872), 42527. Bacchus. Poussin: Catalogue Raisonn, vol. 7, Details of the leftmost bacchantes face and upraised hand, Triumph of Bacchus (16351636) Philostrate Lemnien (Paris: Abel Langelier, 1597). typical of quartz in earth pigments, which are rounded by geological silicon alone do not form a glass, suggesting that these grains are Marotte (Paris: Helleu et Sergent, 1921), unpaginated. Louis Auchincloss, Richelieu (New York: Viking, 1972), 21011, meet the sky. Scale bar is 20 microns. endowment from the Andrew W. Mellon Foundation for conservation ditions Grnd, 2006), 303, as Triumph of Bacchus. as Triumph of Bacchus. Unlike lead white and calcium carbonate, both Aeneas (1639; Muse des Beaux-Arts, Rouen), and The Crossing of Kongelige Bibliotek, Copenhagen, Denmark. 19. 9495 (AprilSeptember 2014): 7. require more information on the original materials and their alteration type. 34. Purchase: William Rockhill Nelson Trust, 31-94, Paintings and pastels marked with a page icon (. of canvas and preparation, or that his handling would have evolved par le Service culturel du 19 au 21 octobre 1994, vol. ), as Triumph des The intensity of its color depends on not being ground too finely while freeing it of colorless matter, two objectives that were difficult to meet simultaneously, resulting different grades. Times 89, no. Triumph of Pan, Vignier suggested a moralizing dialectic of the effects modified under others, we sought to locate intermediate paint painting by Diego Velzquez. Retiro di Madrid, Storia dellarte, nos. However, as Wine points out, Richelieu at this time was 1857), 56, as Triumph of Bacchus. Details of the leftmost bacchantes face and upraised hand, Triumph of Bacchus (16351636) destination as companions to works by Mantegna, an early Renaissance Dutch Pictures, by the Most Esteemed Masters, the Whole in the Highest 2526, as Triomphe de Bacchus. seventeenth century, oil on canvas, 35 7/16 x 46 7/16 inches (90 x 118 Manchester Art Treasures Exhibition, Catalogue of the Art Treasures of cat. Hilliard T. Goldfarb, ed., Richelieu: Art and Power, exh. fullscreen Triumph of Bacchus. and W. The cusping is visible in the radiograph but was also verified by Marie-Pierre Terrien and Philippe Dien, Le Chteau de Richelieu: Wissenschaften, 1956), 44. 397 (March 1995): 26, 28n14, as Triumph of Bacchus. 55, as Triumph of Bacchus. We have also emphasized idiosyncrasies of the materials that 2011), 142, 317, as Triumph of Bacchus. and orange iron earths, iron oxides, yellow lake, and relatively little For example, traditional indigo and synthetic phthalocyanine blue are both carbon compounds not well differentiated by other methods utilized here, especially when used dilutely. Photomicrograph of green highlights on Hercules fingernails, Triumph of Bacchus (16351636) palette created by his deeply philosophical approach to painting.28An approach that was not always attuned to his patrons expectations; see Helen Glanville, Aspect and ProspectPoussins Triumph of Silenus, Artibus et Historiae 37 (74) (2016): 24154. Humphrey Wine, Washingtons French Paintings from the 15th to the is Daillons letter to Richelieu in late 1636, in which he implies he On the other (Chicago: Art Institute of Chicago, 1955), 19. Nicolas Poussin, The Indian Triumph of Bacchus, ca. Arts, 1949), 5859, (repro. and drawings, for information related to their copy of The Triumph of Triumph of Bacchus. The highlight flesh color of Poussins third bacchanal, The Triumph of Silenus (Fig. most important picture here by the greatest master of the French School, 84 (December 10, Fig. (Bziers: A. Bouineau, The overturned jar once contained wine. vanishing point. (Milan: Silvana, 2011), 120, 57 1/16 inches (139 x 145 cm), Muse des Beaux-Arts de Bziers, France. 2008): 66, 95, as Triumph of Bacchus. from the Seventeenth Century, exh. The mixture of the overpainted tree trunk is In the left background, the wreath on the spear is inscribed with the Fig. 32. Walter Friedlaender, The Massimi Poussin Drawings at Windsor, The The whitest forms used in painting were historically produced by inducing lead metal to corrode in the presence of vinegar fumes., their identification and understanding the roles Venetian Tradition, exh. conspicuous by their absence have important ramifications for the the Love of Painting (Princeton, NJ: Princeton University Press, 1996), Gabriel Hanotaux and [Duc de] La Force, Richelieu et les Arts II: La Cross-comparisons have been made with optical microscopy and UV Bacchus diadalmenete. present-day appearance of the painting. Paris. 1857), 20, as The Triumph of Bacchus. the shadow, the preliminary application contains more lead white than composition. 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. 30). reputation, collection virtually from scratch, Kansas City Star with a flared end, similar to the trumpet depicted on the left side of (Leningrad: [Iskusstvo], 1964), 39, as Tp Baxa. Richelieu Richelieu: architecture et dcors dun chteau disparu, York: Coward-McCann, 1948), 128. musical contests. Compared to the See Rosenberg and Prat, Nicolas Poussin: 15941665, no. 126, as The Triumph of Bacchus. Fig. French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2021. doi: 10.37764/78973.5.210.5407. Georges Wildenstein, Les Graveurs de Poussin au XVIIe Sicle, Download low-resolution image. au Trait, Daprs les Estampes de la Bibliothque impriale et des plus cat., 2nd ed. The presence of these significant compositional changes further Thirty Years War(London: Methuen, 1981), 188. 18. Photomicrograph with slightly raking light, revealing an incised X at the right bacchantes neck, Triumph of Bacchus (16351636) cat. Detail of the lower left putto, Triumph of Bacchus (16351636). cat. Philip Conisbee, French Paintings of the Fifteenth through the Bachuss blessings are a treasure. Amabel Yorke, entry for Thursday, March 21, 1793, Diary of Lady Amabel important refinements for comparing their weaves and in the methods 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 . the foreground with loose horizontal strokes, followed by additions of Although favorable, this verdict misses the fact that the 9 (February 1, 1932): 7, as The Triumph of Bacchus. ), as Triumph of Bacchus. It owes its color primarily to a See matches that of Pan until 1850, and the Nelson-Atkins painting was cat. Canvas Weave Comparisons of the Richelieu Bacchanals. Goldfarb, Richelieu, 6. flesh color of this figure employs more lead-tin yellow to compensate Nicolas Poussin, Study for The Triumph of Bacchus, 1635, brown ink and blue-gray wash over black chalk on paper, 6 3/16 x 8 15/16 in. Nicolas Poussin (Basel: Verlag Birkhuser, 1954), 112, 12829, as Algernon Graves, Art Sales from Early in the Eighteenth Century to The blue is underlain by a layer consisting mostly of 90, pp. Princeton University Press, 1985), 78, 78n122, as Triumph of Bacchus. A pen and wash copy by Poussin after Mantegnas Triumph of Caesar exists in a private collection in Paris; see Rosenberg and Prat, Nicolas Poussin: 15941665, no. 130 (December 1972): 53335, (repro. The Galerie des Hommes Illustres in the Palais Cardinal, A The Triumph of Bacchus. cardinal in 1622 and chief minister to Louis XIII in 1624, a position he Nicolas Poussin, in Studiolo: Revue dhistoire de lart de van der Maaten and R.G. 1932): 6, as Triumph of Bacchus. The Triumph of Bacchus. the dry, fresco-like appearance favored by Poussin often entailed subtle, an opaque color was mixed to be a skin midtone and then shaded broader seventeenth- and eighteenth-century painting practice.31A. has then been used to correlate differences in color and optical 21. 3 (March 2013): 52740. 4, in Vertue Note Books: Volume III, special issue, Walpole Society 22 (19331934): 105, 117, as Triumph of Bacchus. not typical detrital quartz. . Catalogue (London: Phaidon, 1966), no. Fig. Language. They can be used for transmitted light imaging as well as in reflection., although a few Poussin initially constructed many Elephants and Oberkirch, 1971), 53, 73, 164n236, 176n325, as Triomphe de Bacchus. 31-94. (Paris: Administration du Grand Dictionnaire Universel, 1867), 19, Otto Grautoff, Nicolas Poussin: Sein Werk und sein Leben (Munich: Samples were prepared in two ways: as embedded cross sections and Flesh tones vary from the ruddy color of earthbound figures such as Pan Twilley et al., Poussins Materials and Techniques for, Francesca Whitlum-Cooper, Poussins Triumph of Silenus Rediscovered,. Literature of the Last Ten Years, The Burlington Magazine 124, Pierre Courthion, Nicolas Poussin (Paris: Plon, 1929), 41. See Humphrey Wine, The Seventeenth Century uniform of the paints, they contain relatively large particles of nationaux, 1994), 18, 2829, 34, as Le triomphe de Bacchus. M. Eveno, Synchrotron-based high angle resolution and high lateral Pigments and alteration products of artists materials that form with the same composition and structure as their natural analogs are often identified by the mineral species name. Both flesh shades from this bacchante contain recognizable coarse Helen Glanville, De lumine et umbratheory and practice, material and perception, in the paintings of Nicolas Poussin (15941665) (PhD diss., Department of Art History, University of La Sapienza, Rome, forthcoming). 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. Nicholas H. J. For an excellent summary on Poussins theories of modes, see Helen Glanville, Aspect and ProspectPoussins Trumph of Silenus, Artibus et Historiae 37, no. exhibition, when it belonged to the Earl of Carlisle, called it the 103n120, 131, 267, 292, 304; 2:5657, 57n1, 9596, 96n4, 100n3, 11617, god of wine. 27. abundance, and joy following the military triumphs of Louis XIII, Fig. 120 The orange ferrous silica grain analyzed in the beige ground is exceptionally high in iron and was the only example that yielded a Raman spectrum (not shown) for the hydrated iron oxide mineral goethite. Their lack of both rounding and staining by iron compounds suggest that these are not detrital sedimentary grains incorporated along with the earth pigments, implying some other source. cat. Download a low-resolution copy of this image for personal use. Bacchus opens the gate of the heart. (Saumur, France: Isaac et Henry Desbordes, 1676), 16263. 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