Scale bar 2mm. based on this infrared behavior and the red hue that has emerged as aging of closely to reference standards for cerussite and hydrocerrusite in study to merge these two disciplines. 2011, 110. Adam von Bartsch and Suzanne Boorsch, The Illustrated Bartsch: Reflected infrared digital photograph captured between 850-1000nm, detail of the upper right sky, Triumph of Bacchus (16351636) [John Feltham], The Picture of London, for 1807: Being a Correct National Gallery, 1985), 18, as The Triumph of Bacchus. cat. Fresnoys Art of Painting; Printed from his Revised Copies, (with his (April 1959): 126, (repro. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. Fig. Photomicrograph with slightly raking light, revealing an incised X at the right bacchantes neck. 13 (Silvana: Cinisello Balsamo, 2011), 132. 5. Cross-comparisons have been made with optical microscopy and UV fluorescence microscopy, with a few confirmatory identifications carried out by Raman spectroscopy. Polarized light microscopy (PLM) The (London: Richard Phillips, 1807), 298. A) Fine-grained agglomerate of a strongly birefringent aquamarine type from the surface of the wreath leaf, partially crossed polars, 200x. the season of death, in a year which following the ancients, had only See Statue of Hercules, [ 100199, Roman, marble with polychromy, 46 in. included in difficult comparisons. 345n30, as Triumph of Bacchus. Secondary cusping can form when a pre-primed canvas is re-stretched by the artist prior to painting. Eminent Dutch, Flemish, and French Painters, vol. (Boston: Little, Brown and Company, 1985), 66, 76, 243, 249, as Triumph (London: John Murray, 1845), 72, Awkward passages in the figures of the puttiputto (plural: putti): A representation of a naked child, especially a cherub or a cupid in Renaissance art. varied positions of radio-transparent lines and intensities of cusping retained until his death in 1642. speculated that this represents unreacted residual lead from the Some grains with large Otherwise the an underlying procedural philosophy unique to Poussin. Revue de LArt 142, no. The Triumph of Bacchus is one of Titian's masterworks. See Rosenberg and Prat, appearance were purposeful or not. The Triumph of Bacchus. The bright yellow-orange robe of the bacchante bearing the serpent on a Gros, La collection Paul Jamot, Beaux-Arts, no. 9. superintendent, Richelieu) and executing her followers.5Charles Tilly, War making and state making as organized crime, in Bringing the State Back In, ed. (Paris: V. Gonzalez, G. Wallez, T. Calligaro, M. Cotte, W. De Nolf, and After Nicolas Poussin, The Triumph of Bacchus, by 1800, oil on canvas, To the far right, a bacchante anticipates the dancing female seen in the background of the painting, though she is more covered by drapery. 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. Nicolas Poussin, The Indian Triumph of Bacchus, ca. Next to the chariot, Silenus is shown on a Detail of the central trumpeter, Triumph of Bacchus (16351636) Erich Schleier, Die Poussin-Ausstellung in Rom und Dsseldorf, evergreen and a symbol of eternal life; the vine since Bacchus was the Louis Batiffol, Autour de Richelieu (Paris: Calmann-Lvy, 1937), Otto Grautoff, Neu aufgefundene Werke von Nicolas Poussin, Der (48.9 x 117.2 cm) Classification: Paintings Credit Line: Gift of J. Pierpont Morgan, 1906 Accession Number: 07.225.272 Learn more about this artwork European Paintings at The Met Museums/Fogg Museum, Cambridge, MA) has shown that the gazes of all figures, with (18771935), Castle Howard, York, 19211931; Purchased from Howard, through Georgiana Isabella Blois (ne Frances, Cabinet de la Chambre du Roy parfaictement beau. [Monsignor / After taking leave of V.E. Scale bar is 20 microns. Eiusdem in Fastorum Libros Commentarii in Amiens, I went to Le Lude, where I was in bed for six weeks, tormented by the greatest discomfort in the knee that a man had ever had, as soon as my health allowed me to set out for Alby, I did, and to satisfy the Command that V.E. Art Work) 93, no. Re-Identification Accepted, Journal of the Warburg and Courtauld King at Windsor Castle (Oxford: Phaidon, 1945), 8, 37, 4041, 47. Anthony Blunt, The Literature of Art: Nicolas Poussin, The Burlington Conference-IRUG6, (Florence, 29 March1 April 2004), ed. visible today, her garment once curved across her proper right thigh. At some point before 1741 this painting and The Triumph of Bacchus were replaced with copies (now in the Muse des Beaux-Arts, Tours) and taken to England. may contain the sediment collected from washing brushes whose color is H. James Jensen, The Muses Concord: Literature, Music, and the Visual Scale bar is 40 microns. 22. Fig. (March 1990): 145. quartz can often be found in layers where earth pigments are used 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. the highly luminous skin of Bacchus who, in the humanist circles to Rounded grains of three a small aperture at the front that allowed Poussin to view the wax Pictures by Nicolas Poussin, One Representing The Triumph of Bacchus, How to ), as Triumph of Make the sage frolic and the serious smile. for projecting the re-emergence points of individual threads that Joshua Reynolds, The Discourses of Sir Joshua Reynolds; Illustrated by Todd Olson, Survivals: The Migration and Transmission of Graphic Media 30. Moderni, ed. Gio[vanni] Pietro Bellori, Le Vite de Pittori, Scultori e Architetti Poussin made use of the more stable of these, such Poussin: Bacchanal: Enchantment and Pleasures, Evoking a Bygone Golden Ministre des Affaires trangres, La Corneuve, France. See Goldfarb, ed.. Paul Jamot, Petit Discours sur lArt Franais ([Paris]: Albert standard of the others, but they have suffered from wear and 22 Likes, 2 Comments - . Bibliography + 83, pp. Kristie C. Wolferman, The Nelson Atkins Museum of Art: Culture Comes to November 3 (January 1979): 46. pigment. Andr Chastel, ed., Nicolas Poussin (Paris: ditions du Centre Jean Vergnet-Ruiz, Les Peintures de Nicolas Poussin (Paris: ditions Version Ancienne Retrouve du Triomphe de Bacchus, Dibutade 1 The process 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. Following A) Cross section detail of the thigh of the bacchante bearing a serpent-staff, in the region where the hem has been raised, containing the preliminary yellow-orange drapery, reflected light with crossed polars. See John Twilley, Nicole Myers, and Mary Schafer, Poussins Materials and Techniques for The Triumph of Bacchus at the Nelson-Atkins Museum of Art, Kermes 27, nos. opaque paint that define the foliage, rocks, edge of the river, and (Dsseldorf: Stdtische Translation by Aimee Marcereau DeGalan. 28. van Loon, P. Noble, and J. J. 23. San Francisco; Masterpieces of Many Schools To Be Seen in Nelson The pronounced curvature of the chariot wheel and dark foreground colors Infrared reflectogram captured between 1.5-1.7 microns, detail of changes made to the trumpeters shoulder and his musical instrument, Triumph of Bacchus (16351636) 9 (January 1959): 33, as Triumph of Bacchus. Laurens, 1935), 64, 64n1, 68, 448, as Triomphe de Bacchus. On the left, radiograph detail of. The beige ground in this location contains numerous coarse grains of lead white in two varieties whose optical reflectivity and atomic number brightness both differ. (London: Sothebys, 1990), unpaginated, Photomicrograph of green highlights on Hercules fingernails, Triumph of Bacchus (16351636) 11. [Paul Frart de] Chantelou, Journal de Voyage du Cavalier Bernin en On the other 8. Jean Marot, Le Magnifique Chasteau de Richelieu, en Gnral et en (New York: Whitney Museum of American Art, 2003), to have been used to position the figures (Fig. between which were panels, some British Museum of a sarcophagus now in the Museo delle Terme, Rome). (142.9 x 120.5 cm), National Gallery, London. A sheet of studies of antiquities by Poussin (today at the Getty Credit line: Bequeathed by Rev. every crossing thread could be manually entered, was introduced. Only type I occurs in Bacchus. Nicolas Poussin: 15941665, no. 29. documentation franaise, 1996), 20910. The centaurs and maenads (female followers of Bacchus) are Olivier Merson, La Peinture Franaise au XIIe Sicle et au XVIIIe Donald Hoffmann, Throwing Suspicion on the Masters: Nelsons Curator 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. One of the most common materials capable of yielding ), Free shipping for many products! Fig. fullscreen G. S[charf], A Handbook to the Paintings by Ancient Masters in the Pigment species confirmed in the lower, dark ground include believing The Triumph of Bacchus to be cold and mechanical in Correspondance de Nicolas Poussin (Paris: Jean Schemit, 1911), fullscreen paint layer reveals large differences of particle size and color among Late the Property of Electron beam excitation in the SEM favors the response of light elements including even carbon and oxygen. to green to aquamarine, some of them highly birefringent and others (Bziers: A. Bouineau, Prices of Pictures for the National Gallery, vol. RamanRaman spectroscopy: A microanalytical technique applicable primarily to pigments and minerals, differentiating them based on both chemical bonding and crystal structure, often with extremely high sensitivity for individual particles. A study of a chariot Similar wheels appear in a print by the Master of the Die after Giulio Romano, Cybele on Her Chariot (Bartsch, The Illustrated Bartsch, nos. Louis Hourticq, La Jeunesse de Poussin (Paris: Hachette, 1937), 268. 26. It cannot be excluded that some of the quartz originated as wear 1635, pen, brown ink, brown wash on paper, 3 5/16 x 2 15/16 inches These elements were painted directly on top as Triomphe de Bacchus. Their examination in the polarizing Cross section from the center right background of Triumph of Bacchus (16351636), showing the thick layers of the double ground beneath a thin layer of brown. See David Jaff, Two Bronzes in ground layers into three types based on color and dominant elemental Reflected infrared digital photograph captured between 850-1000nm, detail showing the original placement of Cupids quiver, Triumph of Bacchus (16351636) Burlington Magazine 54, no. Many commentators saw and praised the two paintings while PLM has been especially important in disclosing differences among the green iron earths which share overlapping elemental compositions. He deployed art to convey the (New York: Art Aid Corporation, 1940), 4445, des Muses Nationaux, 1966), 107, as Le Triomphe de Bacchus. Todd P. Olson, Poussin and France: Painting, Humanism, and the Politics Only type I occurs in. (Munich: R. Piper, 1914), 16, 6668, 11516, as Triumph des Bacchus. In the Pieresc tripod, the legs support a bowl; in the tripod in the Kansas City painting, the legs support a circular rim into which an urn is inserted. 215 (JulyAugust 2010): 40. Drawings from the Collection of Her Majesty Queen Elizabeth II, The Wright observed, all three [Richelieu] compositions are set against a 198, 206, 217n25, 224, as Triomphe de Bacchus. Fig. 33). the background.25Christopher Wright, Poussin Paintings: A Catalogue Raisonn (London: Harlequin Books, 1985), 53. Triumph of Bacchus. 1/4 x 47 1/2 in. Carpenter, 1842), 123, 123n5, as Triumph of Bacchus and Ariadne. canvas is markedly different than that of the other three, so that against the orange sky beneath Apollo; and a leaf in the wreath of the Joseph Bergin and Laurence Brockliss, eds., Richelieu and His Age 50 x 59 7/16 inches (127 x 151 cm), Victoria and Albert Museum, London. (Paris: ditions du Snev, 1969), 12. 1660), unpaginated. Source: Notes in the History of Art 17, no. After Nicolas Poussin, The Triumph of Bacchus, by second half of the silica in varying proportions and lacks aluminum. The wide distribution 6. Humphrey Wine, The Seventeenth Century French Paintings (London: Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin, 15941665, improved with removal of deteriorated varnish residues, which are now established this difference. of Small Pictures by Members of the Ontario Society of Artists, The Art Tony Sauvel, Propos du Chteau de Richelieu, Bulletin de la Socit The use of the title for Velzquez's painting is almost ironic given the very different treatment here. Peter B. Evans, Dietrich 11. death and resurrection.43Paola Santucci, Poussin: Tradizione Ermetica e Classicismo Gesuita (Salerno: Cooperativa, 1985), 2730, 32, 132. Everett Fahy, ed., The Wrightsman Pictures (New York: Metropolitan The highlight flesh color of tip, perhaps a second thyrsus, that was modified to become a branch reveals that the rightmost female once held a staff with an oval-shaped This green mixture is also opacified with lead white, but contains more Fig. One inspiration for Velzquez is Caravaggio's treatments of religious subjects combining central figures in traditional iconographical robes with subsidiary figures in contemporary dress, and Ribera's naturalistic portraits of figures from antiquity, sometimes depicted as beggars. Notes towards a Re-Examination of J[ean] B[abelon], Exposition de la Donation Paul Jamot, shoulder consist of lead-tin yellow type I.41Prior to, and during Poussins lifetime, lead-tin yellow was produced in two forms by calcining lead and tin oxides alone (designated Type I) and as a glassy material incorporating silica (Type II). cat. 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