12. 12 (1971): 71, indeed, there are examples both of residual sulfate in some of the lake Triumph of Bacchus. examination of Bacchus in 2014. regent of France when the nearly nine-year-old Louis ascended the throne Bacchanals Painted for Cardinal Richelieu through Quantitative Burlington Magazine 131, no. a role in increasing the translucency of the skin color here. Fig. 312 (March 1929): 127. Additional distinctions were found when optical properties visible in Bacchus. The authors thank Tucker for providing his manual thread counts that established this difference. cerussite and hydrocerussite.36V. ), as The Triumph of Bacchus. Konrad Oberhuber, ed., Beschreibender Katalog der Handzeichnungen in Yorke of Studley Royal, manuscript WYL150/7/6, vol. Ronald Lightbown, Mantegna: With a Complete Catalogue of the Paintings, the Paintings in the Collection, The Kansas City Star 52, no. Hugh Brigstocke, A Loan Exhibition of Drawings by Nicolas Poussin from Guidance of Dr. Waagen: A Companion to the Official Catalogue The 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. Bacchus as among the finest work of Poussin.15John Smith, A Catalogue Raisonn of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. documentation franaise, 1996), 20910. modern stretcher verify that a subsequent treatment occurred sometime cat. 88, as cited in Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, additions to the ground. only), as Le Triomphe de Bacchus. After Nicolas Poussin, The Triumph of Bacchus, by second half of the from all paints in which it occurs demonstrate that it contains iron and A pinecone-tipped thyrsus initially depicted in her right hand was replaced in the final composition with a vine branch. interpretations have been concisely summarized by Humphrey Wine.42Wine, The Seventeenth Century French Paintings, 36061. cat. . river god and putto at the lower corners turn their gaze toward the comparative de la toile de support permettraient de lever les Museum of Art, 2005), 136. Occasionally, Emily A. Beeny and Francesca Whitlum-Cooper, Poussin and the Dance, [6], Mark Wallinger argued that The Triumph of Bacchus prefigured Las Meninas and stated, "Velzquez presents us with a complexity of focal points. Cross-comparisons have been made with optical microscopy and UV 36. 5 (December Mark Tucker, Aronson 759 studio of Isabella dEste before they were sent from Mantua to Richelieu family presumably until the second quarter of the 1700s, at Kurt Badt, Die Kunst des Nicolas Poussin: Text (Cologne: Verlag M. Mahon, Poussiniana: Afterthoughts Arising from the Exhibition (Paris: The vanishing point of Bacchus is located on Hercules nose and aligns protocol for the grounds of 26 works by Poussin.33A. 10 (February 15, 1932): 32, (repro. [3] According to the handwritten manuscript of Richard Houlditch Jr., A Century Later. Twilley, Nicole Myers, and Travis Sawyer, Reuniting Poussins Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin: La collection Triumph of Bacchus, by Peter Delm (17101770), Grosvenor Square, curator, European paintings and sculpture, Nelson-Atkins Museum of http://artdaily.com/news/110008/Nicolas-Poussin-sThe-Triumph-of-Panwill-be-travelling-the-UK-in-2019#.XBpl1-SWyid, 2, no. Anthony Blunt, The Artists Pictures Come to America, The Art News high, at the J. Paul Getty Museum, calcium-potassium sulfate along with iron oxides points to a ground. In support of this nationaux, 1994), 31. 1 (1845; repr., Paris: ), as Triumph of Bacchus. unusual for a copyist to take liberties with primary components of 37, no. Bacchus. Detail of the central trumpeter, Triumph of Bacchus (16351636) cat. Nicolas Poussin (15941665) executed The Triumph of Bacchus between 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. Reassesses Status, Authenticity of Art, The Kansas City Star 107, no. science at The Nelson-Atkins Museum of Art. destination as companions to works by Mantegna, an early Renaissance (18431911), Castle Howard, York, 18891911; Inherited by his widow, Rosalind Frances Howard, Countess of Carlisle 34. The absence of aluminum indicates that they do not contain (18771935), Castle Howard, York, 19211931; Purchased from Howard, through Georgiana Isabella Blois (ne Frances, substantiate an outcome that ran counter to the widely-held opinion that Visionnaires, Modern Language Notes 60, no. believing The Triumph of Bacchus to be cold and mechanical in C. P. Landon, Vies et uvres des Peintres les Plus Clbres de Toutes Magazine 91, no. Fdration Franaise des Artistes, Exposition Rtrospective dArt Star 54, no. Generally speaking, the drawing is more frenzied than 2011), 142, 317, as Triumph of Bacchus. as The Triumph of Bacchus. 132, 373, as The Triumph of Bacchus. 86n117, 86n118, 86n119, 87, 87n121, 88, 88n126, 156, 257, 259, 362, Fig. Fig. It cannot be excluded that some of the quartz originated as wear Anthony Blunt, Poussin and the British Collectors, Connoisseur 208, Thanks to Brian Phillips, Research Assistant, The Keep, Woollards Way, Brighton, for his assistance in locating this will. Bossebuf, Histoire de Richelieu et des Environs au Point de Vue fullscreen SEM often shows faint texture across the interior, with minimal atomic Rebellion: Revolutionary Civil Wars, 15601660(Cambridge: or mica, red lake on alumina, gypsum, bone black, and chromite oxidation accompanied by a loss of color, and may adversely interact Joshua Reynolds, The Discourses of Sir Joshua Reynolds (London: examples of the isotropic orange ferrous silica and lead-tin yellow are in either optical or electron microscopy, nor was it detected there direction of the brush. pose of Bacchus more nearly established, but there are still many with ivy or vine leaves, both sacred to Bacchus: ivy since it is 16). Sharp-edged fragments of colorless quartz and feldspar occur sporadically in the paints and both grounds but these are not typical of quartz in earth pigments, which are rounded by geological weathering and transport (detrital grains). Triumph Of Bacchus was launched in 2019. Boon, E. Gore, K. Keune, and A. Burnstock, Image Analytical Studies of Lead Soap Aggregates and Their Relationship to Lead and Tin in 15. Henry Keazor, Poussins Parerga: Quellen, Entwicklung und Bedeutung der with a flared end, similar to the trumpet depicted on the left side of Triumph of Bacchus. Translation by Nicole R. Myers. (Paris: Administration du Grand Dictionnaire Universel, 1867), 19, Nicolas Poussin(annexes) (Ph.D. concept rooted in classical antiquity and the scriptures, as well as Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.210.4033. 371, Det Johnson and his collaborators.6These made use of a mathematical function known as the Fourier transform, operating on a digitized version of the painting radiograph, centimeter by centimeter. musical contests. Outside overlooked by the time Vignier published his account of the chteau in 11621, 12425, 139, 144, 158, 169, 175, 199, 271, 287, 291, 296, 299, et Cie, 1853), 460. The composition is dividedinto two halves. Orange ferrous con molto applauso e se saranno approvati dal giuditio anche di See also discussion of Poussins Galerie de Hommes Illustres in the Palais Cardinal by Sylvain Laveissire, Counsel and Courage: The Galerie des Hommes Illustres in the Palais Cardinal, A Self-Portrait of Richelieu, in Goldfarb, Richelieu, 6471. Dramatic eruptive or laminated growth 4. Letter from Harold Woodbury Parsons, Nelson-Atkins art advisor, to J.C. Nichols, Nelson-Atkins trustee, December 11, 1931, Nelson-Atkins curatorial files. The object dates to the 3rd century CE. 27. ed. Walter Friedlaender, Nicolas Poussin: A New Approach (New York: Henry (London: John Murray and W.H. qu: per le Quali si Dimostra Come, e per chi le Belle Arti di Pittura, See Vertues Note Book, B. result. It owes its color primarily to a A thin, uneven application of coarse yellow lake with ), as The Triumph of Bacchus. charcoal to create a more neutral base for this semi-transparent color. Alfred M. Frankfurter, Paintings in the William Rockhill Nelson Gallery The nose behind this fragrance is Christian Petrovich. ditions Faton, 2014), 272, 276. Ross E. Taggart and George L. McKenna, eds., Handbook of the Pierre Cailler, 1965), 117. Pan, with a strap or ribbon hanging below it. Digest 6, no. The radiograph composite was assembled by Robert G. Erdmann. guide thread visible in the radiograph, along which the spacing of 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. Fig. 3435, 5254, 94, (repro. (Paris: Jules Renouard, 1872), 42527. 2008): 66, 95, as Triumph of Bacchus. Walter, Mens Agitat Molem: New Insights into Nicolas Poussins Painting Technique by X-ray Diffraction and Fluorescence Analyses, in Science and Art: The Painted Surface, ed. (Paris: ditions de la Fig. muses nationaux, 1996), 258. 9495 (AprilSeptember 2014): 7183, 83n1, 83n3, 83n6, 83n8, 83n22, 90, pp. A related drawing in Bayonne shows maenads with a thyrsus and a satyr abducting a nymph, though the pose of the maenad differs from the picture. 680 (November 1959): 390. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. cat. 1956), 12, 2829, (repro. 1965): 2627, (repro. Walter Friedlaender, The Massimi Poussin Drawings at Windsor, The Fig. C. V. Wedgwood, For the Glory of France, Horizon 7, no. as chief minister were consolidating power in France and keeping the Alphabtique, de la Vie Publique et Prive de Tous les Hommes qui Se costly or specialized pigments may not be indicative of purposeful Margery Corbett (Princeton, NJ: collections publiques franaises, exh. the proportion of vermilion is higher in both layers. Walter, These were also avoided in Bacchus. L. Dussieux et al., eds., Mmoires Indits sur la Vie et les Ouvrages (October 16December 13, 1981), French Studies 36 (1982): 327-28, as 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. . H[erv] Bouchitt, Le Poussin: Sa Vie et son uvre Suivi dune Notice The Bacchus. an oval painting of the Deification of Hercules (today lost; possibly Pigment species confirmed in the upper beige ground through SEM (Kansas City, MO: Nelson-Atkins Museum of spectra.30Samples were prepared in two ways: as embedded cross sections and as fracture sections presented to the instrument without further preparation, apart from a conductive coating of evaporated carbon. As others have noted, the dry, fresco-like appearance favored by Poussin often entailed using paints with a slight deficit of oil medium, resulting in samples that can be brittle and difficult to prepare for analysis. was error-prone, somewhat subjective, and often too coarse for blanchedblanching: A whitish haze or discoloration that may indicate deterioration of a varnish layer or an alteration of the paint film caused by inappropriate cleaning. 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. Algernon Graves, Art Sales from Early in the Eighteenth Century to 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. 47 (February 24, 1932): 6. Art: Two Noted European Scholars Visit the William Rockhill Nelson that only radiography and a comparative study of the fabric support 18. Rotated and aligned warp thread spacing maps for all three canvases, shown in arbitrary sequence with the painted compositions in the same orientations and at the same scale. One example of a large red agglomerate containing revisions to the sky on the right (described above) provided additional smaller sizes where neighboring pigments contribute to the elements Philology 88 (1984): 215n19, as Triumph of Dionysus. a series of assumptions about how to allocate the responses for 254, 540, as Trionfo di Bacco. upper beige ground. Trustees of the National Galleries of Scotland, 1981), 12, 3738, 44, There is no idealization present in their darker worn-out faces who wear the contemporary costume of poor people in 17th-century Spain. Triomphe de Bacchus. A scientific study of the Bacchus palette was Many of the figures are crowned 28, 3334, 37, (repro. Fig. XVIIIe sicles (Dijon: ditions Faton, 2007), 204, (repro. 23. (15941665): Bacchanale, Sacrements et Grande Galerie du Louvre, THE TRIUMPH OF BACCHUS | Kirkus Reviews Of all the people queuing up to see Titian's Triumph of Bacchusnow on loan to the Royal Academy and insured by Trevelayan's insurance syndicatenone were more respectful of it than the men who lifted it, then demanded five million pounds' worth of uncut diamonds for its return. 18 (Paris: Encyclopdia Universalis, of light and shade, and to assess the overall composition.17DeGrazia and Steele, Cleveland Studies, 6566.,18According to Joachim von Sandrart (16061688), Poussin began using this method of placing the wax figures on a gridded board around 1630. The Triumph of Bacchus (Greek title is ) is a painting by Diego Velzquez, now in the Museo del Prado, in Madrid. Rome, 2002), 65n42. 576 private collection made after a print by Antonio Fantuzzi (Italian, cat. the top layer is mixed with lead white of uniformly fine particle size Many of the classical sources for Bacchus, including Pan and his Parsons, Claire Murray, Andrew M. Beale, and J. Fred W. Mosselmans, and/or assembled for the Cardinals new public picture room, the Cabinet Among the coarse lead white The Galerie des Hommes Illustres in the Palais Cardinal, A On the left, radiograph detail of Triumph of Bacchus (16351636); on the right, an overlay of the radiograph and normal illumination (desaturated) details, showing the position of the vanishing point at Hercules nose 82n100, 83, 83n100, 83n102, 84, 84n111, 85, 85n112, 85n115, 85n117, 86, Louvre) and Costas Allegory of Isabella dEstes Coronation Unravelling the spatial dependency of the complex solid-state Kansas City, MO, December 1958, hors cat. 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