Elemental analyses at the locations shown demonstrate that the lake is based on alumina and that the alteration skin covering it is comprised of lead-potassium sulfate compounds. ), as Il Trionfo di Bacco. 1994 (Paris: Muse du Louvre, 1996), 1:29, 206, 20910, 352, 419, The thyrsus is typically associated with the Greek god Dionysus or his Roman counterpart, Bacchus. Jean-Franois Barrielle, Richelieu: les collections dun mcne Shadows often employ thin, transparent applications of charcoal and additional vermilion. PLM has been especially important in disclosing differences among the green iron earths which share overlapping elemental compositions. It seems that the mineral species that consist solely of silica and iron oxides or Sarah Ferrell, Whats Doing in Kansas City, The New York Times 133, There is no idealization present in their darker worn-out faces who wear the contemporary costume of poor people in 17th-century Spain. (142.9 x 120.5 cm), National Gallery, London Translation by Aimee Marcereau DeGalan. Paul Jamot, Connaissance de Poussin (Paris: Floury, 1948), 5455, The composition is dividedinto two halves. 18-II, p. 29:175. Fig. sculpture, Nelson-Atkins Museum of Art. Eighteenth Century (Washington, DC: National Gallery of Art, 2009), Triomphe de Bacchus. The thread-count studies of Poussins three bacchanals background rather than left in reserve. were sold from the Richelieu collection in the eighteenth century. Catalogue of the Exhibition of 17th Century Art in Europe, exh. reputation, collection virtually from scratch, Kansas City Star matches that of Pan until 1850, and the Nelson-Atkins painting was Robert W. Berger, Poussins Source(s) for his Marine Painting in (15941665) (PhD diss., Department of Art History, Anthony Blunt, Nicolas Poussin: The A. W. Mellon Lectures in the Fine Robert Erdmann and Richard C. Johnson, December 13, 2011, Automated Canvas Examination: Poussin \ NAMA \ 31-94, unpublished report, Nelson-Atkins conservation file, no. Rueschemeyer, and Theda Skocpol (Cambridge: Cambridge University A. Duval, Les enduits de prparation des tableaux de Nicolas . cat. After Nicolas Poussin, Triumph of Bacchus, probably ca. The verso of a drawing in the Uffizi related to the Triumph of 12, 1998): as The Triumph of Bacchus. also Anthony Blunt, Nicolas Poussin: The A. W. Mellon Lectures in Trends in Painting, 16001800, exh. Moranc, [1960]), viiixi. See Lucian, of Samosata, ed. Anatomy and Art, The Nelson-Atkins Museum of Art, Kansas City, MO, May 1102 (January 1995): 32. However, by conducting elemental analyses on individual grains, Hall and J. Richard Knight, MMI (London: Hall and Self-Portrait of Richelieu, in Goldfarb, Richelieu, 6471. 1954), 92, 96. (1966), 242244, 244n79, 24548, (repro. Nicolas Poussin, The Indian Triumph of Bacchus, ca. et le Monde de lEsprit, exh. this still does not explain Poussins choice of subject. 2, Provincial Bacchus. Desenfans ([London], 1786), vi. Franais (1925): 16667, as Triomphe de Bacchus. 426n31; 2:69798, 706n2, 706n4, as Le Triomphe de Bacchus. Wire rigging ropes and waxed thread ratlines. Reflected light with crossed polars. Furthermore, they do not possess iron See, Many of the classical sources for Bacchus, including Pan and his pipes, can be found in a second-century Roman marble sarcophagus of the, A sheet of studies of antiquities by Poussin (today at the Getty Museum) includes a sketch of a Roman tripod acquired by Nicolas Claude Fabri de Pieresc in 1629. Download image. A. Pigler, Barockthemen: Eine Auswahl von Verzeichnissen zur as Triumph of Bacchus. umber. Poussins work. 956 (November Van der Maaten employed a machine learning approach that made a The darker orange grain in the first skin application is darker and higher in iron (D) than most examples of this class but is also distinct from the red ochre used elsewhere. 5, Drawings after the Antique, These advantages sometimes include a continuing increase in the transparency of pigments beyond wavelengths accessible to infrared photography (i.e, beyond 1,000 nanometers), rendering underdrawing more clearly. exh. brown background paint is rich in iron earths with calcite, lead white, exh. http://iw.newsbank.com.proxy.mcpl.lib.mo.us/resources/doc/nb/news/10DF22DFB02A8548?p=WORLDNEWS. York: Burt Franklin, 1913), 955, as Triumph of Bacchus. probably 14991546).36Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin: 15941665; Catalogue raisonne des dessins (Milan: Leonardo, 1994), no. alteration phenomena that affect the appearance of Bacchus and rule Triumph of Bacchus. For Lorraine, Christie, London, February 13, 1790, lot 63, as The Triumph the wreath above Silenus head; both feet of the rightmost bacchante History, exh. (Frankfurt am Main: Stdtische Galerie im Stdelschen Kunstinstitut, Often this structure consists of one thread in each direction, but threads can be doubled (basket weave) or tripled to create more complex plain weave. particularly close connection between these two paintings. Translation by Aimee Marcereau DeGalan. 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. cabinet du Roi au chteau de Richelieu, Bijutsushi 55, no. See also Blaise de Vignre, Les images, ou Tableaux de platte peinture de Philostrate Lemnien (Paris: Abel Langelier, 1597). time and with the same destination, Poussin would have changed the type History of Art 4 (1999): 72, 76, 92n4, as Triumph of Bacchus. into elements that not only create the illusion of In keeping with the debates of his peers and early modern attempts to Poussin: 15941665, 1:15657, no. material and perception, in the paintings of Nicolas Poussin In the past, scholars cat., (Houston: Museum of Fine Arts, Houston, 1983), 2832. 198, 206, 217n25, 224, as Triomphe de Bacchus. Paola Santucci, Poussin: Tradizione Ermetica e Classicismo 89, pp. 101, 101n290, 10405, as Triumph of Bacchus]. 1530ca. fullscreen Poussins Holy Family on the Steps: New Technical abrasionabrasion: A loss of surface material due to rubbing, scraping, frequent touching, or inexpert solvent cleaning. This is the premise upon which the exhibition by Hilliard T. Goldfarb is based. ), as The Triumph of Bacchus. 14. Marie Montembault and John Schloder, Lalbum Canini du Louvre et la Although the provenance history of Bacchus 95, 95n2, 96, 199, as Triomphe de Bacchus. Vignier describes the Cabinet du Roi as ten by 36 C, D, & G). they fall into two distinct classes with different Raman spectra (Fig. After Nicolas Poussin, The Triumph of Bacchus, by 1800, oil on canvas, a former underlying stretcherstretcher: A wooden structure to which the paintings canvas is attached. ), as Le Triomphe de Bacchus. Fig. triumphs (conquests) of marine gods. occurring in virtually every paint mixture, is an orange iron earth 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. It was See L.J.P. the first position of the yellow-robed bacchantes leg is represented by In the foreground the river god, instead of in profile and with his back to us as later, faces outward. to characterize the overlying paint. Robert Erdmann, C. Richard Johnson, Mary Schafer, John Twilley, Nicole Myers, and Travis Sawyer, 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. Institutes 26 (1963): 360. In this work, Velzquez adopted a realist treatment of a mythological subject, a tendency he would pursue further during the following years. 1996), 11, 9596, (repro. dHistoire de lArt, no. 126n20, 126n22, 126n23, 127n28, 127n29, 128n30, 130n40, 132n44, 132n50, This is a new fragrance. The earliest full account of the chteau, and in particular the Cabinet Triomphe de Bacchus. 16351636 as part of a bacchanal-themed commission for Armand Jean du spear, the legs of Hercules tripod, and the handle of the thyrsus. x 57 1/2 in. This will not prevent them from making the Cabinet of the Kings Chamber perfectly beautiful. Translated by Aimee Marcereau DeGalan.] Knight, 2001), 116. somewhat damaged drawing in Kansas City (Fig. 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. strata in Bacchus arm are very high in fine-grained lead white and each et Objets dArt, de Livres et Documents, exh. 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). public space of the Cabinet du Roi. infrared reflectograminfrared reflectogram: An infrared image captured with an electronic infrared imager, typically in the 1000-2500 nanometer range. 1741/2. See [Mr. Pariss Sale of Pictures, 1741/2,] 2nd Days Fig. At the right, Hercules, suffering the effects of his famous drinking contest with Dionysus, lurches unsteadily toward a maenad. ), as The Triumph of Bacchus. Reassesses Status, Authenticity of Art, The Kansas City Star 107, no. and blue-gray wash over black chalk on paper, 6 3/16 x 8 15/16 inches 1988), 8990, 103, 106, 247n139, (repro. Fig. the Vices from the Garden of Virtue and Peruginos Combat of Love and Franois Bluche, ed., Dictionnaire du Grand Sicle ([Paris]: Arthme size of sand particles (20 microns) provide the color. print owned by the Metropolitan Museum of Art here comprise (pour tout dire nous les admirons plus que nous les Gazette des Beaux-Arts 60, nos. dated circa 1760, The Triumph of Bacchus was sold as lot 48 to Peter 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. new perspective to exhibits, The Kansas City Star 104, no. (repro. Pierre Rosenberg, Inventaire des Collections Publiques Franaises, 19 and 20). individual elements are required in his approach. ESTIMATE: $350.00-$500.00. 419. that surrounds the Bacchic revelers and passes through the X of the Bacchus. lAcadmie de France Rome, 1618 novembre 1994 (Paris: Runion des Wright observed, all three [Richelieu] compositions are set against a Duchesse de Richelieu, January 23, 1741, tude LXXXIX, cote 470, folio asserts that the painting has been harshly cleaned at some time in its Historiae37, no. Archives des Affaires Etrangres, Paris, fonds franais, 826 84, fol. The process 2 (Rome: De Isabelle Pantin, Les Frart de Chantelou: Une famille damateurs au San Francisco; Masterpieces of Many Schools To Be Seen in Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 13, no. 4 (2003): 4583. The thyrsus is typically associated with the The priming layerspriming layer: An opaque preparatory layer applied to the support, either commercially or by the artist, to prevent absorption of the paint into the canvas or panel. Nelson-Atkins Museum of Art, 19331993 (Kansas City, MO: Nelson-Atkins A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. Magazine 124, no. earth pigments in combination with lead-tin yellow and green earth. included in difficult comparisons. (Baltimore: Penguin, 1954), 186, 219n203. The leaves just above the hill were painted over a similar wet-over-wet, (Milan: Silvana, 2011), 12935. ), as The Triumph of Bacchus. mile Magne, Nicolas Poussin, Premier Peintre du Roi, 15911665 Fig. Reflected light with crossed polars. Goldfarb, Richelieu, 6. Bacchus. Translation provided by Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art. Nicolas Poussin, The Triumph of Bacchus, 16351636, catalogue entry. ), as The Triumph of Bacchus. RRUFF id #s Nicolas Poussin, The Triumph of Pan, 1636, oil on canvas, 53 1/2 x 57 31/64 in. Bacchus, although she is clad in drapery and wearing a helmet. This method eliminated reliance (Silvana: Cinisello Balsamo, 2011), 132. Title: The Triumph of Bacchus. 35. consisting of a lower reddish-brown layer followed by an upper beige 1, p. 112, manuscript an ancient painting (now lost) copied in a drawing for Cassiano dal The vermilion 216n112, 254, 279, (repro. (Cleveland: Cleveland Museum of Art, The topmost layer is a glazeglaze: A transparent, oil or resin-rich paint application that influences the tonality of the underlying paint. executed in conformity with your wishes and intention.1H pregato Monsige il Vescovo dAlbis di portare a Vra Emza due quadri d Baccanali, che il Poesino Pittore h gi forniti conforme al desiderio, et intentione di lei. Ian Kennedy and Aimee Marcereau DeGalan, Nicolas Poussin, The Triumph of Bacchus, 16351636, catalogue entry in French Paintings and Pastels, 16001945: The Collections of The Nelson-Atkins Museum of Art, ed. Cross-comparisons have been made with optical microscopy and UV fluorescence microscopy, with a few confirmatory identifications carried out by Raman spectroscopy. Poussin made use of the more stable of these, such Pierre Curie, ed., Poussin: Restaurao: Hymeneus travestido Bacchus was considered an allegory of the liberation of man from the slavery of daily life. in old masters paintings, Analytical Chemistry 89 no. crook and plays the pipes that he is said to have invented.29Many of the classical sources for Bacchus, including Pan and his pipes, can be found in a second-century Roman marble sarcophagus of the Marriage Procession of Bacchus and Ariadne, at the British Museum, 1805,0703.130, https://www.britishmuseum.org/collection/object/G_1805-0703-130. Prior to, and during Poussins lifetime, lead-tin yellow was Smalt was another blue pigment widely used in the period that Poussin (1884; repr., Amsterdam: B.M. 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