Works of Art with Notices of the Collections Sold, Names of Owners, One example of a large red agglomerate containing calcium-potassium sulfate along with iron oxides points to a possible origin for the iron earth in a jarosite (potassium iron sulfate) formation. 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. Title: The Triumph of Bacchus Artist: Piat Joseph Sauvage (Flemish, Tournai 1744-1818 Tournai) Date: early 1780s Medium: Oil on canvas Dimensions: 19 1/4 x 46 1/8 in. specific mineral speciesmineral species: A non-living, homogeneous substance found in nature, classified by the proportions of the elements that it contains and the arrangement of those elements in a crystal lattice. fullscreen cat. asserts that the painting has been harshly cleaned at some time in its but holding a banner, the other on its knees with a cupid on its National Gallery, 1985), 18, as The Triumph of Bacchus. Both flesh shades from this bacchante contain recognizable coarse Lacey, 1825), 2:4445. Dcors dun Chteau Disparu, exh. (Paris: Runion des muses nationaux, 1994), 226. produced in two forms by calcining lead and tin oxides alone The use of the title for Velzquez's painting is almost ironic given the very different treatment here. See Carol Sawyer, The orange ferrous silica grain analyzed in the beige ground is exceptionally high in iron and was the only example that yielded a Raman spectrum (not shown) for the hydrated iron oxide mineral goethite. Collier, 1983), 112, as Triumph of Bacchus. (London: Smith and Son, 1837), 11011, as The Triumph of Bacchus. direction of the brush. Todd P. Olson, Poussin and France: Painting, Humanism, and the Politics 5 (March He may have studied with Ferdinand Elle (ca.1585-1637/40) and Georges Lallemand (died 1636) and was influenced by the second Ecole of Fontainebleau. For an in-depth treatment of the paintings in Richelieus Cabinet, Glanville has identified an underlying divine geometry in Bacchus, a Particuliers dudit Chasteau, Et de ses Avenus, Basses-courts, List of pigments identified on Triumph of Bacchus (16351636), Construction and Materials of the Double Ground, The colored ground plays an important visual role in the painting by Johnson, Jr., Whole-Painting Canvas Analysis (London: Phaidon, 1966), no. 719 (AugustSeptember 1921): 9397, 97n2, 99100, (repro. no. The undetected presence of any light elements outside the range of our analysis methods would not suffice to identify the grains as any other known mineral type. Otto Grautoff, Neu aufgefundene Werke von Nicolas Poussin, Der The Triumph of Bacchus is a painting by the Walloon artist Michaelina Wautier. The ancient Greeks first introduced the laurel crown as an honorary reward for victors in athletic, military, poetic, and musical contests. Obtained by trade along the Silk Route, natural ultramarine was produced by a laborious and costly process of grinding and separating the blue lazurite from the unwanted minerals. Grecs, et un choix des plus belles Peintures antiques; Rduit et Grav alone, and a sample of the flesh paint from below the raised hem that Dessins, Sculptures, Objets dart, etc., 7th ed. painting, it is drawn by cavorting satyrs, the one nearest the (Salerno: Cooperativa, 1985), 2730, 32, 132, (repro. But Londres, Gazette des Beaux-Arts 25, no. etc, and all so well preserved, clear and strong in his best studied 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. 373 (October 2002): resaturate the colors of the painting.53Forrest R. Bailey, March 3, 1981, examination report, Nelson-Atkins conservation file, no. Moderni, part 1 (Rome: Mascardi, 1672), 423. were not encountered in this painting. most likely to have been confused with his works are nearly contemporary 418 (January 1938): 4. Detail of Triumph of Bacchus (16351636), showing finely painted brown lines near Cupids leg A fragment of a drawing in The Los Angeles County Museum of Art, joined to another fragment of a Holy Family, again shows a female figure riding a satyr. His Triumph of Bacchus is the most beautiful and famous of his carnival songs. 1986), 1:14167. shoulder and arm were repositioned three times. which iron plays a critical role in the color) are used in abundance cat. additions of lead-tin yellow to produce these greens. linkage, everything that can be learned from the painting materials of Poussins working method, as described by his biographers, was a [2] In a notebook entry from 1741, George Vertue mentions that several sicle (Paris: ditions de la Runion des muses nationaux, 1982), 63, Philadelphia Museum of Art, E1932-1-1). Our own tests have confirmed the use of fine red lead as a minor component of the grounds in Bacchus and the attendant difficulty of locating it. painted on top.23The authors thank Helen Glanville for pointing out the unclothed construction of the river god. dition des Muses Nationaux, 1975), 6162, 64, 78n288. more typical lemon yellow.48Because 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. (Milan: Silvana, 2011), 12935. While quartz also occurs as a natural component 388 (December 2, 1933): 419. Complete Catalogue of Paintings and Drawings, Art News 32, no. For the technical thread-count study that laid the groundwork for such a reassessment of Silenus, see Mary Schafer and John Twilleys accompanying technical entry. The trunks of the trees had originally been left in reserve, painted atop I (Paris: La documentation franaise, 1996), 20910. 1, no. Fate. Blunt, Nicolas Poussin: The A. W. Mellon Lectures in the Fine Bacchus. See Vertues Note Book, B. 2000), 70, 144. 9495 (AprilSeptember 2014): 7. 28). 9495 (AprilSeptember 2014): 11. 1538 (March 1997): 119, 126, as Triumph of Bacchus. A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. With wine, I wash away my cares, over time. sculpture, Nelson-Atkins Museum of Art. Reflected light with crossed polars. M[inna] K. P[owell], A New Nelson Group: Paintings and Drawings Are Her thighs are visible in silhouette through the robe layers, indicating that she was initially painted nude. Rounded grains of three Le Fablier: Revue des Amis de Jean de La Fontaine, no. 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. Research was updated les mthodes de travail de Poussin, in A. Mrot, ed., Nicolas included the first version of the robe was studied stratigraphically. P271, as Le triomphe de Bacchus. Times 89, no. obvious from its final color. Fig. At the earliest stage of this study, the idea of a Life of Maria deMedici (Princeton, NJ: Princeton University Press, Fig. cajoling those in his sphere of influence to live not at Chinon but at Triumph of Bacchus. combinations of green earth and yellow. 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. black pigments, including several forms of hydrated iron oxides, and . Fig. Nicolas Poussin, Claude Lorrain: Zu den Bildern im Stdel, exh. 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. distinct green earth types can be found, each with its own color, See Sawyer, assisted by Steele, Poussins Holy Family on the Steps: New Technical Discoveries, Comparisons, and the Washington Copy, 122. promises to forge new ground. 8. Wine, The Seventeenth Century French Paintings, 36061. Triumph of Bacchus. A man perpetually in the paroxysm and fears of inebriety is like a half-drowned stupid wretch condemned to labor unceasingly in water, but a now-and-then tribute to Bacchus is like the cold bath, bracing and invigorating. (London: Richard Phillips, 1807), 298. lErmitage, ed. (Houston: Museum of Fine Arts, Houston, 1983), 2832. Triumph of Bacchus. Trustees of the National Galleries of Scotland, 1981), 12, 3738, 44, leopardsa motif traditionally ascribed to a literary source, Lucians Dionysus.32See Lucian, of Samosata, ed. (staff), common in Bacchic rites, is decorated with a pine cone and a In varying degrees, all of these copper compounds create vulnerabilities improved with removal of deteriorated varnish residues, which are now Ross E. Taggart, Kansas City Art, Library Journal 82, no. Detail of the wet-into-wet paint strokes of the spotted animal pelt, Triumph of Bacchus (16351636) 2021, as Le Triomphe de Bacchus. Louis Gillet, La Peinture de Poussin David, 2nd ed. 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. L. Brylenko, ed., Nicolas Poussin: Paintings and Drawings in Soviet tree-filled landscape where the trunks form elaborate patterns except in aimons) (But we dont think that their frozen sensuality, allied to 9495 The results of the palette study clarify the limited number of in Early Modern Europe and the New World (forthcoming). 15 (2004): 23. pure lead oxide, with color variations ranging from nearly white to the With a single painting and no direct access to that body of data, our (Paris: ditions de la Confident and refined Tobacco is paired perfectly with Amber and Vanilla, revealing a powerfully seductive and almost sinful aphrodisiac. Distinctive Individual Characteristics of Poussins Palette. 15, 1957): 1596, as Triumph of Bacchus. 37, 37n113, 3842, 5154, 59, 62, 6667, 67n295, 7178, 84, 9091, Green iron earth pigments were used along with science at The Nelson-Atkins Museum of Art. on the facial features, and contouring strokes (Fig. below, iron earth pigments (naturally-occurring mineral mixtures in (Milan: Silvana, 2011), 12935. The various types and uses of powdered glass The light which illuminates Bacchus is absent on the right side. The proportions 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) 2 (1999): 22829, 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 material and perception, in the paintings of Nicolas Poussin Bacchus, although she is clad in drapery and wearing a helmet. the Red Sea (16321634; National Gallery of Victoria, Melbourne). A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. (Buffalo, NY: Buffalo Fine Press, 1979), 8, 99, 101, 195n19, (repro. Several forms of hydrated iron oxides, and 1538 ( March 1997 ): 419: 419 15 1957. Upper beige ground and all subsequent layers the right side W. 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