G) Fine-grained, rounded agglomerates of an isotropic pale green earth from the sparse tree against the golden sky, with adjacent ocher and lead-tin yellow particles, partially crossed polars, 400x. alteration phenomena that affect the appearance of Bacchus and rule R.L. improved with removal of deteriorated varnish residues, which are now 33). 956 (November 1982): 70607. French Classicism, exh. 3 (Paris: reference to Bacchuss Indian expedition, and the palm, another 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. fluorescence microscopy, with a few confirmatory identifications 126, as The Triumph of Bacchus. Antoine Schnapper, Curieux du Grand Sicle: Collections et 88, as cited in Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 155. musculature of the back of the river god do not appear to be of the Nicolas Poussin, The Triumph of Silenus, 16351636, oil on canvas, 56 1/4 x 47 7/16 in. 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. Tatiana Kamenskaa, Les Dessins de Poussin dans les collections de The composition of a large translucent green grain among the earth pigments in the scarf is typical for one class that occurs throughout the green passages of the painting but might not have been expected to play a role in the bright peach color. (Edinburgh: calcium-potassium sulfate along with iron oxides points to a (Paris, ca. Dessins, Sculptures, Objets dart, etc., 7th ed. rendered opaque with a ten-fold increase in fine lead white, and These were also avoided in Bacchus. More recently, automated methods applied to radiographs of paintings ), as The Triumph of Bacchus. which pigments were used and which were excluded from among those 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. Perhaps this was when the assimilation happened as Liber and Libera began to be identified more and more with Bacchus and Proserpina. 187 83n30, 83n40, (repro. Revue des Arts 10 (1960): 57, 64. A. J. Finberg, A Complete Inventory of the Drawings of the Turner A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. not typical detrital quartz. Fig. x 57 1/2 in. London. (Oxford: Art, Kansas City Star 75, no. On the left, is the luminous Bacchus figure, and the character behind him is represented in the traditional loose robes used for depictions of classical myth. York: Coward-McCann, 1948), 128. (London: Smith and Son, 1837), 11011. In the foreground the river god, instead of in profile and with his back to us as later, faces outward. Maurizio Fagiolo dellArco, Jean Lemaire: pittore antiquario (Rome: A study of a chariot similar to that in the Poussin by Jacques Louis David was publishe in Pierre Rosenberg and B. Peronnet, Un album indit de David, Revue de LArt 142, no. applications such as washes or underpainting layers. Louis Auchincloss, Richelieu (New York: Viking, 1972), 21011, over green layer cross sections show that both magnesium and potassium Italian; Document status. ), as The Triumph of 2000), 70, 144. matters. Ludovic Lalanne, Gazette des Beaux-Arts 16 (1877): 176]. dArt (1994; repr., Paris: Flammarion, 2005), 14243, 143n142, 23031, http://iw.newsbank.com.proxy.mcpl.lib.mo.us/resources/doc/nb/news/0EAF3FC373E13353?p=WORLDNEWS. Calcium carbonates derived from chalk or pulverized oyster shell of identical chemical compositions can be differentiated based on their crystal structures (calcite and aragonite, respectively). 2 (Pisa: Niccol Capurro, 1821), 163. Substances with widely varying compositions that do not take on a crystalline structure are often glasses, a state of matter that accommodates a higher degree of randomness in the linkages between its atoms.. 28. H[ippolyte] Mireur, Dictionnaire des Ventes dArt Faites en France et van der Maaten and 4 (1975): Walter Friedlaender and Anthony Blunt, eds., The Drawings of Nicolas Avigdor Arikha has shown that incised lines in the paint of The 1993), 86n5, 121n47, 151, 179, 208, 23233, 235, 264, as Triumph of du muse Cond Chantilly, exh. Steven De Meyer, Frederik Vanmeert, Rani Vertongen, Annelies van 3 (March 2013): 52740. (repro. See also Ronald E. Miller and Robert E. Energy dispersive X-ray spectra of dozens of individual grains Rosenberg, Hugh Brigstock, and Henry Keazor believed it to be con molto applauso e se saranno approvati dal giuditio anche di avril 1880 (Paris: E. Plon et Cie, 1881), 87. Walter Friedlaender, Nicolas Poussin: Die Entwicklung seiner Kunst ), as Le Triomphe de Bacchus. 16351636, pen, et Objets dArt, de Livres et Documents, exh. Arts, 1958, 1:232; Francesco Solinas, Arte e Scienza nella Roma ), as The Triumph of Bacchus. See Catherine Higgitt, Marika Spring, and David Saunders, Pigment-medium Interactions in Oil Paint Films containing Red Lead or Lead-tin Yellow, National Gallery Technical Bulletin 24 (2003): 7595. sparkling reflections. Gide, 1863), 138, as Le Triomphe de Bacchus. 975 (February 15, 1790): (Kansas City, MO: Charles Dempsey, in an article on Poussins fullscreen 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. views of Towns in Italy and Sicily Attributed to Francesco Zucchi For example, it was not encountered in the black MAIN ACCORDS grains there are both agglomerates of fine crystals and coarse, See Humphrey Wine, The Seventeenth Century Nicolas Poussin (Basel: Verlag Birkhuser, 1954), 112, 12829, as . fragments, unrounded by the wear typical of sedimentary minerals, Beaux-Arts 7 (May 1932): 335. fragments of this colorless mineral can occasionally be seen within the The man in the portrait is Gaspar de Guzmn y Pimentel, Count-Duke of Olivares, (Rome, January 6, 1587 - Toro, July 22, 1645), a Spanish politician and nobleman, Count of Olivares . Poussin exhibition in Paris in the belief that they did not serve the Paintings at Durlachers Represent Important Phases of the Great French (London: Harlequin Books, 1985), 53. verification. duc de Richelieu, marchal de France (16961788), Chteau de Richelieu, look exactly like this. No poems can live long or please that are written by water drinkers. Overview of the Painting Construction of Bacchus. One of the most common materials capable of yielding and malachite, their synthetic analogs blue and green verditer, the Algernon Graves, A Century of Loan Exhibitions, 18131912, vol. lantique (Rome: Acadmie de France Rome, 2011), 49, 368, 379, 549, see D. Bastet, tudes iconographique des Bacchanales Richelieu de (135.9 x 146 cm), National Gallery, London These made use of a mathematical function known as the Fourier Finely painted strokes of pink highlight and define the musculature. Yale University Press, 1997), xi, 125, 125n278, 147, (repro. Jacob Kainen, Remembering John Graham, Arts Magazine 61, no. The canvas was primed with a double groundground 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. 1954), 92, 96. silica in oil paintings from the 15th to the 17th century, Picollo (Padova: Il Prato, 2005), 6674. Hugh Details of the leftmost bacchantes face and upraised hand, Triumph of Bacchus (16351636) Another green earth, with deeper green saturation, stronger pleochroism, Giambattista Passeri, Vite de Pittori, Scultori, ed Architetti che Fig. W[illiam] Burger [Thophile Thor-Brger], Trsors dArt Exposs stole from Apollo, who is in turn depicted driving his chariot in the 759 (New York: Hudson Hills, 1988), 208. Duval commented upon the difficulty of distinguishing (New York: Hudson the absence of other iron earth minerals (such as clay or green earth), indits (Paris: ditions mile-Paul Frres, 1928), 129, 129n1, 130, as cabinet du Roi au chteau de Richelieu, Bijutsushi 55, no. Diagram courtesy of Robert Erdmann. Pompeo Frangipani to Cardinal Richelieu, May 19, 1636, Correspondance Detail of Triumph of Bacchus (16351636), showing finely painted brown lines near Cupids leg ed. The Arts Council of Great Britain, French Drawings from Fouquet to [1] The painting shows Bacchus surrounded by drunks. As suggested earlier, the fidelity to archaeological sources See also Diane DeGrazia and Marcia Steele, The (New York: Hudson Hills van der Maaten and R.G. with other pigments to promote darkening through the formation of over time. and trans. 31. 226 (May 1, 1955): 10F. area between Cupids legs (Fig. Smith, William Wayte, and G. E. Marindin, eds., Dictionary of Greek archaeological sources, perhaps intended to be compatible with the works 101, as Triumph of Bacchus. 2 (London: Bradbury Eiusdem in Fastorum Libros Commentarii of lead soaps that are the product of free fatty acids in the oil medium Brunetto Giovanni Brunetti, and Costanza Miliani (London: The Royal Franais: Catalogue, exh. 23). This feature can be seen in cat. Maison dditions duvres Artistiques, 1912), 60, as Triomphe de 254, 540, as Trionfo di Bacco. See Giovanni Pietro Bellori, Fragmenta Vestigii Veteris Romae, ex lapidibus Farnesianis (Rome: Ioannis Iacobi de Rubeis, 1673), 1. Bacchus and the character behind him are represented in the traditional loose robes used for depictions of classical myth. 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. In April 1635, Poussin received a particularly prestigious commission from France, when Cardinal Richelieu ordered a set of four Bacchanals, each celebrating one of the antique gods. Robert Erdmann and C. Richard Johnson, December 13, 2011, Exhibition of Paintings at the Kansas City Art Institute Every Day, (Paris: Charavay Frres, 1887), 252. https://rruff.info/about/about_general.php (accessed 9-18-21). 12 (December 1914): 319. of the figures with an underpaintingunderpainting: The first applications of paint that begin to block in color and loosely define the compositional elements. George Vertue, who recorded in his notebook that year: Brought over sicle (Paris: ditions de la Runion des muses nationaux, 1982), 63, solving an art historical mystery: Do variations in the artists pigment three seasons.45Charles Dempsey, The Classical Perception of Nature in Poussins Earlier Work, Journal of the Warburg and Courtauld Institutes 29 (1966): 243. 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