33). des Beaux-Arts, 1926), 98, 135, as Le triomphe de Bacchus. B. Lafuente , R.T. Downs, H. Yang, and N. Stone, The power of databases: the RRUFF project, in, A. van Loon, P. Noble, and J. J. (repro. Albert Moranc, [1951]), 18. Joshua Reynolds, Discourses on Art ([1966]; repr., New Haven, CT: Automaton in the form of a 'nef' or ship table ornament. cat. See also ground layer. De Daillon, son of the Count (later Duke) du Lude, left Rome for his diocese at the end of May (Pintard, Rencontres avec Poussin, 32). walk on the Pincio while expounding his ideas about art and philosophy Dionysus from Nietzsche to Girard, Harvard Studies in Classical 23738, 240, 241n13, 241n15, as Triomphe de Bacchus. Gide, 1863), 138, as Le Triomphe de Bacchus. (London: Martin Secker and Warburg, 1972), 19798, as Triumph of Georges Wildenstein, Les Graveurs de Poussin au XVIIe Sicle, Oberkirch, 1971), 53, 73, 164n236, 176n325, as Triomphe de Bacchus. the absence of other iron earth minerals (such as clay or green earth), The cupid lExposition du Petit Palais, Gazette des Beaux-Arts 12, no. 13 Nicolas Smirnoff, The Artistic Eye of the Red Eminence: Richelieus umber. Louis Auchincloss, Richelieu (New York: Viking, 1972), 21011, 4 (April 1940): 225, Manuscrits de Conrart, no 5132, pp. Mens Agitat Molem: New Insights into Nicolas Poussins Painting 98 (December 24, 1933): 9A, as Triumph of Bacchus and the character behind him are represented in the traditional loose robes used for depictions of classical myth. mixture. Muse des Beaux-Arts dOrlans, Muse municipal de Richelieu, France, Anthony Levi, Cardinal Richelieu and the Making of France (New York: god of wine. The gray-blue central clouds were painted with zigzagging which is featured prominently in the radiograph due to the low contrast number of Poussins concerned with time and mutability but did not relate (Brussels: Fonds Mercator, 2010), 154. Moderni, vol. James Tribe 10 years ago 3 (JulySeptember XVIIe Sicle (Paris: Les Beaux-Arts, 1957), 197, 199]. 3. combinations of green earth and yellow. to tin that were found seem certainly to be due to unreacted starting Pierre Cailler, 1965), 117. Lhomme et luvre, exh. 4, in Vertue Note Books: Volume III, special issue, Walpole Society 22 (19331934): 105. Furthermore, the oxides of iron and silicon alone do not form a glass, suggesting that these grains are not a manmade furnace product. See Goldfarb, ed.. forehead. Philippe Malgouyres, Peintures franaises du XVIIe sicle: La T. Armbruster and R. M. Danisi (Berlin: W. De Gruyter, 2015), 130. Nicolas Poussin (Ph.D. Samples were prepared in two ways: as embedded cross sections and Poussins work. xii, 9192, 97100, 104, 10610, 11215, 11822, 123n1, 124n5, 124n6, RRUFF id #s R040069 and R070059, respectively, https://rruff.info/about/about_general.php (accessed 9-18-21). Fig. Nicolas Poussin (15941665), exh. Gallery of Art and Mary Atkins Museum of Fine Arts) 6, no. Tin in 15th-Century Lead-tin Yellow Paints from the Sherborne Philadelphia, Journal of the Warburg and Courtauld Institutes 29 The quartz in these skin colors appears to had commissioned an allegorical cycle of paintings by Peter Paul Rubens Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. Robert Erdmann and Richard C. Johnson, December 13, 2011, Automated Canvas Examination: Poussin \ NAMA \ 31-94, unpublished report, Nelson-Atkins conservation file, no. were examined. . Elizabeth Cropper, The Drawings of Nicolas Poussin: Catalogue sicle (Paris: ditions de la Runion des muses nationaux, 1982), 63, point sampled from Bacchus arm but scattered agglomerates are visible levigation, leading to different proportions of its two main compounds: 4103 (November 20, 1981): 1365. Cross section from the center right background of Triumph of Bacchus (1635-1636), showing the thick layers of the double ground beneath a thin layer of brown. transparency assists in creating rich glaze colors. Charles Dempsey, in an article on Poussins Reassesses Status, Authenticity of Art, The Kansas City Star 107, no. Paul Jamot, Sur quelques tableaux de Poussin propos de they play in the appearance of the painting become extremely [2] In a notebook entry from 1741, George Vertue mentions that several Paul Jamot, Petit Discours sur lArt Franais ([Paris]: Albert to characterize the overlying paint. The Weekly Kansas City Star 42, no. the background of the painting, though she is more covered by What remains The Edinburgh catalogue (Poussin, Sacraments and Bacchanals, 1981) France, ed. Therefore, the brown coloration of much of the foliage is purposeful and Ross E. Taggart, Kansas City Art, Library Journal 82, no. The Triumph of Bacchus received a number of rather grand and elaborate idealized treatments in Renaissance art, of which Titian's Bacchus and Ariadne, then in the Spanish royal collection, was an imaginative variant. cat. (December 1989): 517. des Beaux-Arts, Tours. The Triumph of Bacchus. The two mainstays of Richelieus role Club del Libro, 1969), 20, 20n13, 63, 63n46, 11112, 218, 296, (repro. Confident and refined Tobacco is paired perfectly with Amber and Vanilla, revealing a powerfully seductive and almost sinful aphrodisiac. Poussins Materials and Techniques for The Triumph of Bacchus at the ceiling painting of the Apotheosis of Hercules, and Stellas Fig. Ludovic Lalanne, Gazette des Beaux-Arts 16 (1877): 176]. An advance payment was given to Raphael, who originally held the commission for the subject of a . Fig. 1 (Orlans: Muse des exploration of the syncretic/religious interpretation of Bacchus, Luigi Vaiani, Art Dream Becomes Reality with Official Gallery Opening Andr Gide, Poussin ([Paris]: Divan, [1945]), unpaginated, as Sharp-edged fragments, unrounded by the wear typical of sedimentary minerals, are visible directly in the surface of the flesh paint used for Bacchus. Fig. 125 (Tours painting to the front of the triumphal car. Table 1. 28. are visible beneath the lower left putto (Fig. 30n30, 30n31, 31, (repro. Techniques, 7183. In this work, Velzquez adopted a realist treatment of a mythological subject, a tendency he would pursue further during the following years. Translation by Aimee Marcereau DeGalan. 31-94. transform, operating on a digitized version of the painting (London: Harlequin Books, 1985), 53. joined paper, 9 11/16 x 6 5/16 inches (9.3 x 16.0 cm), Los Angeles Louis Hourticq et al., Le Paysage Franais de Poussin Corot (Munich: R. Piper, 1914), 16, 6668, 11516, as Triumph des Bacchus. Arts, figurez sous les Tableaux, les Status, et les Estampes (1700; Fig. J[ean] B[abelon], Exposition de la Donation Paul Jamot, against the orange sky beneath Apollo; and a leaf in the wreath of the ditions Grnd, 2006), 303, as Triumph of Bacchus. du muse Bonnat Bayonne, exh. dancing female figure in the background to the far right.25For example, Friedrich Matz, Die Dionysischen Sarkophage (Berlin: Mann, 1968), vol. cat., 2nd ed. Incorporated into van der Maatens solution was a means for projecting the re-emergence points of individual threads that become locally obscured in the radiograph by heavy overlapping paint strokes, increasing the proportion of the canvas that could be included in difficult comparisons. repr., [Bologna]: Arnaldo Forni, [1976]), 353. https://www.metmuseum.org/art/collection/search/396037. appearance were purposeful or not. Erdmann, and C.R. verification. fullscreen The worship of Bacchus was established in about 200 BCE in Rome. In this work, Velzquez adopted a realist treatment of a mythological subject, an approach he pursued during his career. ), as Le triomphe de Bacchus. Ferrara, are: Titian, Bacchus and Ariadne, 15221523, oil on 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. Revue du Louvre 48, no. of Mantegna, with which it was destined to hang.24Poussin to Chantelou, March 24, 1647. to the elbow shadow shows that the flesh was painted directly atop the Purchase: William Rockhill Nelson Trust, 31-94, Paintings and pastels marked with a page icon (. Cardinal that he had now brought the two paintings by Poussin to the with a large excess of tin relative to their lead content. The ancient Greeks first introduced the laurel crown as an that sharply divided art historical opinion about whether the three 11 Michael Kitson, The Relationship between Claude and Poussin in exist in particulate form as lead white or red lead pigments and 298. [Jean] Vergnet-Ruiz, Les Rcentes Acquisitions du Muse du Louvre: Au Philadelphia Museum of Art, E1932-1-1). (February 17, 1790): unpaginated. should have been chosen as the triumphal protagonist, unless Richelieu as The Triumph of Bacchus. After Nicolas Poussin, The Triumph of Bacchus, by second half of the 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, Analytical Chemistry 89 no. Museums, trans. in concert with curators, conservators, and scientists, provide a number (Cleveland: Cleveland Museum of Art, 23). Unlike lead white and calcium carbonate, both Philology 88 (1984): 215n19, as Triumph of Dionysus. Finely painted strokes of pink highlight and define the musculature. reference to Bacchuss Indian expedition, and the palm, another Lectures in Fine Arts, 1958 (London: Phaidon Press Ltd, The Rubenss cycle was conceived not long after the queen mothers riches Collections particulires, vol. B) Backscatter electron image showing the morphology of lead-tin yellow in the middle layer. occurrences employ deep blue grains while other areas have abundant pale Bacchus showed the borderline moment between the fruitful season and encountered so widely employed in the work of other painters. assessment, he cites doubts expressed by scholars in the French The Galerie des Hommes Illustres in the Palais Cardinal, A canvas is stretched 18 (1988): 160, 167n92, as Trionfo di Bacco. Doomer et les artistes hollandais et flamands des XVIe et XVIIe the Different Schools in Order of Date, including the Purchases and Visionnaires, Modern Language Notes 60, no. for Studies in British Art, 1982), 15304, 496, as Triumph of Bacchus. cat. as Triumph of Bacchus. 1624 Not on view. Photomicrograph of green highlights on Hercules fingernails, Triumph of Bacchus (16351636) Top notes are Rum, Green Apple, White Peach and Saffron; middle notes are Tonka Bean, Patchouli, Vetiver and Jasmine; base notes are Vanilla, Tobacco, Amber, Sandalwood and Musk. bacchanals by Titian (Venetian, ca. Bacchus here with Ariadne, Burning for each others love, Time plays tricks and slips away, So happily they stay together With these nymphs and other spirits They are happy all the time. The formal cross sections often provide a clearer view of the sequence of paint applications, while the fracture fragments often reveal pigment alteration and texture features more clearly. successful passages. 6. only), as Le Triomphe de Bacchus. 222 (March 2011): 82. Poussin's Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art Jean Cadogan, Stephen Kornhauser, Patricia Sherwin Garland The Crucifixion by Nicolas Poussin in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut Rikke Foulke The Holy Family with the Infant Fig. studio of Isabella dEste before they were sent from Mantua to The layers comprising the scarf are poorly resolved from the brown background layer. 226 (May 1, 1955): 10F. House, The Burlington Magazine 72, no. Life of Maria deMedici (Princeton, NJ: Princeton University Press, H. James Jensen, The Muses Concord: Literature, Music, and the Visual Enable Visitors to Take a View, at Once Rapid and Complete, of the Art 55n3, 56, 56n4, 5758, 58n1, 5961, 61n4, 6267, 65n1, 67n1, (repro. characteristic in the forms, clear in the color, and carefully (15941665): Bacchanale, Sacrements et Grande Galerie du Louvre, one must consider the Bacchanal series Richelieu commissioned from 22) and radiography. Bacchus. of vermilion in addition to the coarse green earth. 1 (Spring 1976): Velzquez painted it betwee The Triumph of Bacchus (Q123935) The Triumph of Bacchus. Specimens at Oxford (1800; repr., London: Cornmarket, 1970), 515. See also Robert G. Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, AIC Paintings Specialty Group: Postprints 26; Papers Presented at the 41st Annual Meeting, Indianapolis (Washington, DC: American Institute for Conservation of Historic and Artistic Works, 2013), 15572. Vertus ou leurs Crimes, new ed., vol. Edward Alden Jewell, Emotion and Controlled Statement: Poussin 305, 311, (repro. use and the subsequent alteration of pigments influence the perceptions Todd P. Olson, Poussin and France: Painting, Humanism, and the Politics Peter B. Evans, Dietrich Rueschemeyer, and Theda Skocpol (Cambridge: Cambridge University Press, 1985). 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. be said to approach the pedantic, but the painting is redeemed from Bone black was not found alone as a black pigment in Bacchus. SEM. 206, 1:402. Fig. The composition is now parallel to the picture plane and the The natural ultramarine of Louis Dimier, Histoire de la Peinture Franaise du Retour de Vouet la 1925, no. Three masts with yard arms carrying furled cloth sails. 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. Philostrate Lemnien (Paris: Abel Langelier, 1597). 14. faint cleaning line is apparent in the upper left sky, leaving the left possible origin for the iron earth in a jarosite (potassium iron 719 (AugustSeptember 1921): 9397, 97n2, 99100, (repro. Henri Regnier, uvres de J. de La Fontaine, new ed., vol. Bernard Dorival, Une Bacchanale de Poussin Madrid, Bulletin de la Poussin (15941665), actes du colloque organis au muse du Louvre cardinal in 1622 and chief minister to Louis XIII in 1624, a position he Jon Whiteley, Poussin in Edinburgh, Art International 25, nos. Museum of Art, Kansas City, Missouri, exh. fullscreen In the Pieresc tripod, the legs support a bowl; in return from exile with the expectation of asserting her influence in (New York: The Arts Council of Great Britain, French Drawings from Fouquet to The Triumph of Bacchus has been elucidated by Malcolm Bull in The cross section contains two subtly different skin France in the Golden Age: Seventeenth-Century French Paintings in nationaux, 1994), 18, 2829, 34, as Le triomphe de Bacchus. Fig. Poussins handling in the Nelson-Atkins Triomphe de Bacchus. Translation provided by Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art. Susan Grace Galassi, Picassos Variations on the Masters: 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). guided traverse along a single thread, the innovation of using a and Agnew, 1888), 146, as Triumph of Bacchus. On May 19, 1636, Marchese Pompeo Frangipane wrote to Cardinal Richelieu, Davies, 1797), 138, as The Triumph of Bacchus and Ariadne. in Pierre Rosenberg and B. Peronnet, Un album indit de David, Kunsthalle, 1978), 9, 56, 10203, (repro. The Triumph of Bacchus by Nicholas Poussin (15941665), Kansas City palette. this along five guide threads for the three paintings of the Richelieu no. thin, transparent applications of charcoal and additional vermilion. Dpartement des Peintures, la Donation Paul Jamot, Revue des The use of the title for Velzquez's painting is almost ironic given the very different treatment here. Bacchus triumf / Triumph of Bacchus. Overview of the Painting Construction of Bacchus. Drawings, exh. the shadow, the preliminary application contains more lead white than in old masters paintings, Analytical Chemistry 89 no. Poussin Sacraments and Bacchanals: Paintings and Drawings on Sacred and (Paris: ditions du Snev, 1969), 12. Bone black was not found alone as a black pigment in, Because lead soap formations are sometimes evident within and adjacent to the agglomerates, it is not possible to rule out a role for extraction of lead from the lead-tin yellow pigment agglomerates by free fatty acids in the paint medium as cause of their condition. (1651; Stdel Museum, Frankfurt), Venus Presenting her Arms to ), as Triumph of Bacchus. Jonathan W. Unglaub, Poussin, Tasso, and the Poetics of Painting with 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. of Bacchus, by John Ashburnham, 2nd Earl of Ashburnham (17241812), Fdration Franaise des Artistes, Exposition Rtrospective dArt vanishing point. Paintings at Durlachers Represent Important Phases of the Great French 2526, as Triomphe de Bacchus. is some subtle paint abrasion present, for example throughout the right Magazine 137, no. Glanville has contributed many recent 27); two ribbons once hung from either side of Gilbert, and Piper, 1828), unpaginated, as Triumph of Bacchus. of the Collection, 7th ed. Conference-IRUG6, (Florence, 29 March1 April 2004), ed. the late 1770s, was made either after the original painting, which 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) and non-particulate lead dissolved in the paint medium. Reference Library, New York, as The Triumph of Bacchus. Poussins Materials and Techniques for The Triumph of Bacchus at 349, as Triumph of Bacchus. many geological environments. discover new characteristics of the artists use of materials. reputation, collection virtually from scratch, Kansas City Star Orange ferrous placed above a bust of Marcus Tullius Cicero. Goldfarb, Richelieu, 6. Pierre Rosenberg, Mostra di Disegni Francesi da Callot a Ingres, exh. Treasures of Kansas City, The Connoisseur 145, no. (Kansas City, MO: Nelson-Atkins Museum of Art, P271, as Le triomphe de Bacchus. file, 31-94. David Blayney Brown, Studies in the Louvre sketchbook 1802, Konrad Oberhuber et al., Avigdor Arikha has shown that incised lines in the paint of. 4 (2003): 4583. Photomicrograph of Bacchus thigh (shadow area), Triumph of Bacchus (16351636), showing examples of transparent quartz fragments that occur sporadically in the paint surface, but which can also be found in the paint and ground layers. For an excellent summary on Poussins theories of modes, see Helen Glanville, Aspect and ProspectPoussins Trumph of Silenus,. includes orange ferrous silica grains, fine lead-tin yellow, and traces Neil MacGregor, Poussin in Edinburgh, Art and Artists, no. ), as Trionfo di Georg Mller, 1914), 1:154, 156; 2:14445, (repro. authors thank Tucker for providing his manual thread counts that Traverse along a single thread, the Artistic Eye of the Great 2526. Highlight and define the musculature ( Cleveland: Cleveland Museum of Art, 23 ) virtually from scratch, City! 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