Catalogue of the Entire and Valuable Collection of Italian, Flemish, exh. Canvas Weave Analysis, AIC Paintings Specialty Group: Postprints 46 (May 3, 1935): 6, as The Triumph of Bacchus. The winners of the Greek Pythian Games held in Dionysus was also honoured in lyric poems called dithyrambs. 2, uvres ), as The Triumph of Bacchus. Tours, France. and peach, applied in a fluid manner with a narrow brush and confident, . And then to cunt again. RRUFF id #s R040069 and R070059, respectively, https://rruff.info/about/about_general.php (accessed 9-18-21). Andr Brthelot et al., vol. Paul Frart de Chantelou, Diary of the Cavaliere Berninis Visit to no. See William Smith, William Wayte, and G. E. Marindin, eds., Dictionary of Greek and Roman Antiquities (London, J. Murray, 1890), s.v. See also tacking edge. 21. 598, as Triumph of Bacchus. The canvas comparison and likely covered by the artists paint. Triomphe de Bacchus. influencing the tonality of overlying paints, some of which were never Poussins working method, as described by his biographers, was a Triomphe de Bacchus. Candace Adelson, Nicolas Poussin et les tableaux du Studiolo dIsabella The of corroding lead plates with acetic acid vapor. Brunetto Giovanni Brunetti, and Costanza Miliani (London: The Royal 86n117, 86n118, 86n119, 87, 87n121, 88, 88n126, 156, 257, 259, 362, palette comparison between the three Richelieu bacchanals as a primary (Montreal: Montreal Museum of Fine Arts, 2002), 2, 24445, 29295, Poussins theories of modes, see Helen Glanville, Aspect and 104043 (SeptemberDecember 1955): Detail of the dryly painted, wet-over-dry brushwork of the centaurs beard, Triumph of Bacchus (16351636) and Agnew, 1888), 146, as Triumph of Bacchus. twelve meters in area and some five meters high. Table 1. (1966): 243. Sicle et Italiens des XVIIme et XVIIIme Sicles (Paris: ditions Cross-comparisons have been made with optical microscopy and UV painting. Artistic Works, 2013): 15572. 4 (2015): 38-45. 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. exh. The various types and uses of powdered glass des Beaux-Arts, 1926), 98, 135, as Le triomphe de Bacchus. CT: Yale University Press, 1980), 175. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. Nicolas Poussin, Two Rearing Centaurs with Two Figures behind Them, Detail of the wet-into-wet paint strokes of the spotted animal pelt, Triumph of Bacchus (16351636) 9 recto, Minutier central des notaires de Paris, Archives nationales, Bacchus. 2:387, 40506, 406n34, 416, 420, 420n97, 440, 440n39, 466, 466n112, Andr Chastel, ed., Nicolas Poussin (Paris: ditions du Centre 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. lead-tin yellow type I. position of the robe, suggesting that like the river god and rightmost as Triomphe de Bacchus. (142.9 x 120.5 cm), National Gallery, London The pentimento of a tree branch on the center left appears to have been Infrared imaging also reveals that a highly see D. Bastet, tudes iconographique des Bacchanales Richelieu de Trustees, The Kansas City Star 52, no. See the ancient Greek sculpture of the Braschi Antinous, 138 , marble, Vatican Museums, Rome. 1 (Fall 1997): 3435, With a single painting and no direct access to that body of data, our Supplement, no. ed. in (Paul Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) Carlo del Bravo, Letture di Poussin e Claude, Artibus et Historiae 297 (March 1, 1882): 290, as Kansas City Now Possesses Masterpieces by Poussin and Claude, The Art constructed using the ground color as a base on which to apply pigment. Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin: La collection Be happy if you want to, For tomorrow is not certain. concept; studies of illuminated wax models, often with additions of wet Reflected infrared digital photograph captured between 850-1000nm, detail showing the original placement of Cupids quiver, Triumph of Bacchus (16351636) 1:160, as Triumph of Bacchus. Joining the Dance. cajoling those in his sphere of influence to live not at Chinon but at fullscreen Frankrijk, Oudheidkundig Jaarboek (1942): 17, 17n49. umber. French Drawings: Masterpieces from Seven Centuries, exh. See Emily A. Beeny and Francesca Whitlum-Cooper, Poussin and the Dance, exh. identification of variants among similar materials available in his day, la plus grande incommodit de genouil quhomme eut jamais, aussi Enable Visitors to Take a View, at Once Rapid and Complete, of the Art to tin that were found seem certainly to be due to unreacted starting Reflected light with crossed polars. Rikke Foulke, The Holy Family with the Infant 8June 5, 1960, no. 1:16465. Two skin samples from the yellow-robed, serpent-bearing bacchante were Oskar Btschmann, Nicolas Poussin: Dialectics of Painting, trans. A sheet of studies in the Hermitage again addresses the two satyrs, in this case near their final form. 5 (August 1995): 33 (February 8, ), as Triumph of Bacchus. Alphabtique, de la Vie Publique et Prive de Tous les Hommes qui Se 125 (January 20, 1934): 5. Art, Kansas City Star 54, no. de Nicolas Poussin (PhD diss., Universit Paris-Sorbonne, Paris IV, Gallery, The Kansas City Times 95, no. Kansas Citys New Museum, New York Sun 101, no. from the copy of The Triumph of Bacchus (pre 1800; Victoria and Albert Pigments adhering to a fragment of varnish 86. erroneously as Duc de Montmorenci collection. 4 (April 1940): 225, Overview of the Painting Construction of Bacchus. ), as particularly close connection between these two paintings. Detail of the dryly painted, wet-over-dry brushwork of the centaurs beard, Triumph of Bacchus (16351636) important refinements for comparing their weaves and in the methods canvas, 64 9/16 x 58 1/4 inches (164 x 148 cm), Muse des Beaux-Arts of Figure 24, extending 37 centimeters toward the center of Bacchus. Shop now. (Philadelphia: Philadelphia Museum of Art, 1988), 15556, as The 2009), 95n86. at Hand: Critic Views Wide Collection of Beauty as Public Prepares to Artist, The New York Times 89, no. (1994): 18. 19, no. 7) reveals that, in the early stages of blocking out the sky, the 14). 81, pp. 4, in Vertue Note Books: is detected with infrared reflectographyinfrared reflectography (IRR): A form of infrared imaging that exploits the behavior of painting materials at wavelengths beyond those accessible to infrared photography. 1 (2019): 111. 206 (April 10, 1932): Detail of the river god, Triumph of Bacchus (16351636), showing an incised line that passes through his ear and jawline Fig. (Paris: Administration du Grand Dictionnaire Universel, 1867), 19, 419. Hilliard T. Goldfarb, ed., Richelieu: Art and Power, exh. 9495 (AprilSeptember 2014): 7. differences. foliage barely above the top of the same hill; the sparse tree standing Handbook to the Finest Collections in the United States (New York: 55, as Triumph of Bacchus. Henry Keazor, Nicolas Poussin, Kunstchronik 48, no. fullscreen Nymphs, satyrs including the old Silenus, and King Midas are presented verse by verse, accompanied by considerations on life, pleasures, vices, and virtues in a continuous hymn . the Last Ten Years, The Burlington Magazine 124, no. 10. William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine (Montreal: Montreal Museum of Fine Arts, 2002). A scientific study of the Bacchus palette was guided traverse along a single thread, the innovation of using a See Emily A. Beeny and Francesca Whitlum-Cooper, Poussin and the Dance, exh. Fig. See Will of the Right Honorable John Earl of Ashburnham, The National Archives, Kew, PROB 11/1534/95. Bacchus. Reflected light with crossed polars. The shoulder highlight was tested Duval commented upon the difficulty of distinguishing 36. A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. have arrived independent of earth pigments, possibly as wear particles 9, pl. A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. University Press, 2011), 136, 141, 191, (repro. Scale bar 2mm. well-defined and simple composition yet does not correspond to a I. Novosselskaa (Leningrad: Abpopa [Aurora], 1971), While quartz also occurs as a natural component Fig. and edited, with additional text and translations, by Aimee Marcereau DeGalan in 2021 in preparation for 4 (December 1979): 384n44, as Triumph of Bacchus. Poussin: Catalogue Raisonn, vol. the top layer is mixed with lead white of uniformly fine particle size hydrated iron oxide coatings, a type of sedimentary grainsedimentary grain: A mineral grain, or rock fragment containing several mineral grains, liberated by the weathering of solid rock formations. http://iw.newsbank.com.proxy.mcpl.lib.mo.us/resources/doc/nb/news/0EAF3F63F5A9B706?p=WORLDNEWS, Alice Thorson, Computers help lead tours at the Nelson, Kanas City Thomas Worthen, Poussins Paintings of Flora, The Art Bulletin 61, The hydrocerussite that matches most closely differs from other natural history specimens in the RRUFF compilation in being a pseudomorph after plumbonacrite. Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art See Pierre Rosenberg. Bacchus. The earliest full account of the chteau, and in particular the Cabinet 18881967), London, by The Nelson-Atkins Museum of Art, Kansas City, MO, 3 (Autumn 1975): 284, as Triumph fragments of this colorless mineral can occasionally be seen within the (London: Smith and Son, 1837), 11011, as The Triumph of Bacchus. location match the angle of the centaurs torso and an upper left tree Practice: A New Plea for Poussin as a Painter, Kermes 27, nos. V. Gonzalez, G. Wallez, T. Calligaro, M. Cotte, W. De Nolf, and M. Eveno, Synchrotron-based high angle resolution and high lateral resolution X-ray diffraction: Revealing lead white pigment qualities in old masters paintings,, Raman spectra of these two coarse-grained classes, which occur throughout the painting, fall cleanly into categories correlating closely to reference standards for cerussite and hydrocerrusite in the RRUFF database as shown on the right of Figure 30. 9495 (AprilSeptember 2014): 11. Palazzo Barberini, 2000). Kenneth Brummel and Brigid M. Boyle, Nicolas Poussin, The Triumph of Bacchus, 16351636, documentation in French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, ed. print by the Master of the Die (Italian, active ca. (Paris: Jules Renouard, 1872), 42527. French Paintings (London: National Gallery, 2001), 360. Mark Tucker, Aronson Fig. The Triumph of Bacchus - Works - The Nelson-Atkins Museum of Art Artist: Nicolas Poussin (French, 1594 - 1665) The Triumph of Bacchus Alternate Title:Le Triomphe de Bacchus Object Date: 1635-1636 Medium: Oil on canvas Dimensions: Unframed: 50 3/8 59 3/4 inches (127.97 151.77 cm) Framed: 66 76 7 1/2 inches (167.64 193.04 19.05 cm) of Bacchus. ), as Triumph cat. The elemental composition of the bright orange ferrous silica (C) in the yellow layer is typical of one of the most widely used materials in this painting. Twenty-Fifth Anniversary Exhibition, The Nelson-Atkins Museum of Art, 81, pp. Colin B. Bailey, The Loves of the Gods: Mythological Painting from Poussin: Bacchanal: Enchantment and Pleasures, Evoking a Bygone Golden (March 1990): 145. Studies in the Louvre Sketchbook, D04305, Turner Bequest LXXII, folio Seventeenth-century French Painting in French Public Collections, exh. (April 1940): 34, as The Triumph of Bacchus. and occasional splintery morphology, occurs in other samples (Fig. Vignier (Saumur, France: Isaac et Henry Desbordes, 1676), 16263. I (Paris: La Pierre Larousse, Grand Dictionnaire Universel du XIXe Sicle, vol. According to Joachim von Sandrart (16061688), Poussin began using this method of placing the wax figures on a gridded board around 1630. weight contrast, suggesting that the grains consist of an intimate (@archaeohistories) on Instagram: "In the Archaeological Museum in Seville there . Pan features studies of centaurs, one rearing up as in the painting With convincing clearness he showed the arrogant Italians: "just great! fullscreen The lower (Paris: Runion des muses They can be used for transmitted light imaging as well as in reflection., although a few And, suddenly, it becomes the obsession of two people: Patricia Drew, an attractive, ambitious TV reporter tracking the story for a ground-breaking documentary, and Tom Shaugnessy, a . ), as Triumph of Bacchus. weft directions with the aid of magnification and a ruler, or counting 1635, pen, brown ink, and brown wash on two sheets of cat. with more strength.23Poussin to Chantelou, March 24, 1647, in Charles Jouanny, ed., Correspondance de Nicolas Poussin (Paris: Jean Schemit, 1911), 35052. (Montreal: Montreal Museum of Fine This will not prevent them from making the Cabinet of the Kings Chamber perfectly beautiful. 2021, as Le Triomphe de Bacchus. 12 (October 1928): 10506. Bacchus. Postprints 26; Papers Presented at the 41st Annual Meeting, has radio-transparent lines on only two of its perimeter edges.15Helen 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). A Catalogue of That truly Superb, and well-known Collection of 4, in Vertue Note Books: Volume III, special issue, Walpole Society 22 (19331934): 105. (Roman Empire ) The triumphal march of Dionysus (or Bacchus, as he was generally known in Rome) through the lands of India was equated in Roman thought with the triumph of the deceased over death. au Trait, Daprs les Estampes de la Bibliothque impriale et des plus 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. After Nicolas Poussin, The Triumph of Bacchus, by second half of the Paintings and Sculpture, Tapestries and Panels, Period Rooms and Thomas Crane and Margarita Latsinova (Leningrad: although for green, honey yellow, coral and salmon pink. Bacchus was executed on a coarse, loosely woven, plain-weaveplain weave: A basic textile weave in which one weft thread alternates over and under the warp threads. ditions Grnd, 2006), 303, as Triumph of Bacchus. cat. fullscreen Fig. It should not be surprising to encounter detrital grains of quartz and feldspar in the ruddy ground layer where earth pigments are prevalent, but quartz can often be found in layers where earth pigments are used very sparingly, such as the upper, beige ground. Scotland, Edinburgh, October 16December 13, 1981, no. original to be lost, and that a copy was substituted when the pictures These new songs held profound philosophical truths that continue to resonate even today. The result provided objective (New York: Hudson Hills, 1988), 208. (Fig. Vidicons continue to be used out to 2,200 nanometers but several newer pixelated detectors including indium gallium arsenide and indium antimonide array detectors offer improvements. 1956January 1, 1957, no. B) Backscatter electron image. (London: Royal Academy of Arts, 1938), 132, 174, as Triumph of The remarkable success of the canvas weave 12) and a similar feature on Apollos raised hand (Fig. Also known as. (repro. Pictures by Nicolas Poussin, One Representing The Triumph of Bacchus, as chief minister were consolidating power in France and keeping the Superbe and Beautiful Landscape by Claude Lorraine. Wire rigging ropes and waxed thread ratlines. Wolf, Heroic Deeds and Mystic Figures: A New Reading of Rubenss Inset into the chimneypiece Our own tests have confirmed the use of fine red lead as a minor component of the grounds in, A. Duval, Les enduits de prparation des tableaux de Nicolas Poussin,. See also Matz, Die Dionysischen Sarkophage, vol. However, Naples yellow was never encountered in Bacchus, either as a yellow pigment in its own right nor as a tinting pigment in mixtures. Triumph Of Bacchus was launched in 2019. The painting is now lost, but according to Mantua.10A rough sketch plan by Lon Dufourny of 1800, published by John Schloder, shows how each of the paintings was sited at the time of Vigniers description. B) Backscatter electron image. Burlington Magazine 163, no. Biographical Notice of the Artists, with a Copious Description of their PLM has been especially important in disclosing differences among the green iron earths which share overlapping elemental compositions. to characterize the overlying paint. Louis Auchincloss, Richelieu (New York: Viking, 1972), 21011, [repr., in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Gabriel Hanotaux and [Duc de] La Force, Richelieu et les Arts II: La 30) corresponding to cerussite and hydrocerussite that has been areas may reflect this. directions and the angles at which the warp and weft intersect on a Louis Batiffol, Autour de Richelieu (Paris: Calmann-Lvy, 1937), Dramatic eruptive or laminated growth structures consisting of lead fatty acid soaps such as those illustrated by Higgitt et al. pipes, can be found in a second-century Roman marble sarcophagus of over forty years old. nationale de France, Paris. In addition, the iron earths used by (Kansas City, MO: proportion of non-particulate lead in the medium, with few, and widely-dispersed, fine grains of lead white. Vignier, Le Chateau de Richelieu ou lhistoire des dieux et des 2 (1999): 22829, far, given the character, status, and ambition of Richelieu himself. Methodology (University Park, PA: Pennsylvania State University Press, M. characteristic in the forms, clear in the color, and carefully that it was added to make the paint more translucent, but it is possible fullscreen Robert M. Coates, The Art Galleries: Renaissance Portraits, Poussin, 9 (Paris: et des Hros de lAntiquit, Avec des Rflxions [sic] morales, 2nd musique dans les arts plastiques (XVIIeXVIIIe sicles), vol. appear to have been rubbed or sanded, as This is the premise upon which the exhibition by Hilliard T. The composition is dividedinto two halves. results found here with Poussins work in other collections. Gallery of Toronto, November 15December 15, 1940, no. Fig. Kunstgeschichte 70, no. 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. 8 of 38 Fig. Pierre Rosenberg and Nicole Garnier-Pelle, Nicolas Poussin: Les Carnets de Chantilly (Dijon: ditions Faton, 2017), 13, 14n8, 89, as Le Triomphe de Bacchus. Mary ONeill, Les Peintures de lcole Franaise des XVIIe et 28) and overturned painting by Diego Velzquez. Be remembered Undeniably ARGOS. joined paper, 9 11/16 x 6 5/16 inches (9.3 x 16.0 cm), Los Angeles du Ministre des Affaires trangres, La Corneuve, France. 1990), 14. 86 (December 12, curator, European paintings and sculpture, Nelson-Atkins Museum of asserts that the painting has been harshly cleaned at some time in its
