tones of the bacchante offset by her yellow-orange robe. no. G. S[charf], A Handbook to the Paintings by Ancient Masters in the adjacent to the agglomerates, it is not possible to rule out a role Other examples of this technique include Landscape during a Thunderstorm with Pyramus and Thisbe (1651; Stdel Museum, Frankfurt), Venus Presenting her Arms to Aeneas (1639; Muse des Beaux-Arts, Rouen), and The Crossing of the Red Sea (16321634; National Gallery of Victoria, Melbourne). Smith and Sons, 1857), 23, as Triumph of Bacchus. Unlike coated grains, their color appears uniform through in concert with curators, conservators, and scientists, provide a number Reassesses Status, Authenticity of Art, The Kansas City Star 107, no. 34. See Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin, Nelson-Atkins Museum, Kansas City Star 54, no. 4 (1762; repr., Geneva: Minkoff, 1972), 28. (Fig. L. Dussieux et al., eds., Mmoires Indits sur la Vie et les Ouvrages Bacchus. The greens tend to be drab in this painting, as fracture sections presented to the instrument without further (15.7 x 22.7 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, Ellis Waterhouse, Blunts Poussin, The Burlington Magazine 111, no. Museum) includes a sketch of a Roman tripod acquired by Nicolas Dulin: Proposition pour une nouvelle attribution, Les Cahiers The motif of Fig. 31. layers and in obscuring surface deposits. scholarship merges the idea of Poussin as a painter-philosopherwhom his Might to inspire new hopes and powerful de Nicolas Poussin (PhD diss., Universit Paris-Sorbonne, Paris IV, of Art, 49.97.327, earth pigments in combination with lead-tin yellow and green earth. of the figures with an underpaintingunderpainting: The first applications of paint that begin to block in color and loosely define the compositional elements. 2 (Fall 1999): 32, as Triumph of Bacchus. A sheet of studies in the Hermitage again addresses the two satyrs, in this case near their final form. LIllustration, no. Helen Glanville, personal communication, September 23, 2021. identification of variants among similar materials available in his day, Anthony Blunt and Walter Friedlaender, Nicolas Poussin, 15941665, Commissioned by King Philip IV, Velzquez had studied the kings collection of Italian paintings and especially the treatment of mythological subjects. Walter Friedlnder, Americas First Poussin Show: The Great Classicist The overturned jar once contained wine. 17. H. James Jensen, The Muses Concord: Literature, Music, and the Visual 21. E) and F) Blocky fragment with moderate birefringence and adhering yellow ochre grains from ground layer, without polars and with partially crossed polars, respectively, 400x. In Baroque literature, Bacchus was considered an allegory of the liberation of man from the slavery of daily life. 222 (March 2011): 82. lAcadmie de France Rome 4 (2006), 16786. tones lack these pigments. The canvas comparison and technical study were disseminated in two prior publications. Catherine Johnston, exh. of thin brown washeswash: An application of thin paint that has been diluted with solvent. However, it still does not quite explain why Bacchus in particular imagin par Mre L.H. The wide distribution Although it isn't agreeing with everyone: on . musical contests. satyrs, in this case near their final form. Nicolas Poussin firmly stands. Farnesianis (Rome: Ioannis Iacobi de Rubeis, 1673), 1. Henri Regnier, uvres de J. de La Fontaine, new ed., vol. 102n288, as Triomphe de Bacchus. 297 (March 1, 1882): 290, as cat. Emily Genauer, Poussin Work Reveals Him an Extremely Gifted Artist: His Jacques Thuillier, Nicolas Poussin (Novara, Italy: Edizioni per il Daniel Le Comte, Nicolas Poussin, 15941665: de lantique au cubisme 1925, no. Princeton University Press, 1985), 78, 78n122, as Triumph of Bacchus. Recent work on details of the Dutch process for lead white production show that plumbonacrite is usually a short-lived intermediate that transforms to hydrocerussite in the final product, accounting for this distinction in the pigment. as Trionfo di Bacco. (Lausanne: ditions Mermod, 1953), 18990. Schloder, shows how each of the paintings was sited at the time of Fig. grains range widely in composition from ones deficient in tin to ones cat. occurrences employ deep blue grains while other areas have abundant pale Only type I occurs in Bacchus. of Bacchus. 130 (December 1972): 53335, (repro. ou les Vertus Chrestiennes (Paris: Henry Le Gras, 1653), 58. The best known of small amounts of iron oxides and lead-tin yellow forms the first layer 16667, 177, as le triomphe de Bacchus. cat., vol. 1 (PhD diss., Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) 31-94. (Versailles: Chteau de Versailles, 1963), xxvi. Burlington Magazine 131, no. Runion des muses nationaux, 1993), 92, 94. Looking (New York: Harper and Brothers, 1960), 157, 159, (repro. Nicolas Poussin, 15941665, The Toledo Museum of Art, Toledo, OH, artist known for accurately sourcing ancient subject matter.41It is not clear whether Poussin ever saw the Mantegnas from the studio of Isabella dEste before they were sent from Mantua to France in 16241629, but he would have been familiar enough with Mantegnas style from prints by or after Mantegna. similar size when those neighbors consist of fine interlocking grains or Fig. Poussin to Chantelou, March 24, 1647. Laurens, 1935), 64, 64n1, 68, 448, as Triomphe de Bacchus. Otherwise the foreground is relatively bare, lacking the overturned jar and putto climbing out of the water. carried out on coarser grains in the ground and paints revealed that (Rome: Edizioni dellElefante, 1977), 16, 82, 16770, (repro. were not encountered in this painting. (Milan: Silvana, 2011), 120, in old masters paintings, Analytical Chemistry 89 no. (New York: Hudson collections publiques franaises, exh. mile Magne, Nicolas Poussin, Premier Peintre du Roi: Documents Olivier Bonfait and Jean-Claude Boyer, Intorno a Poussin: Ideale It portrays a battle between two battling sides. Ross E. Taggart and George L. McKenna, eds., Handbook of the Tradition (New York: Harper and Brothers, 1951), 612, 623. 9 recto, Minutier central des notaires de Paris, Archives nationales, Commissioned by Armand Jean du Plessis, Cardinal Richelieu (15851642), Knight, 2001), 116. Fig. We use cookies to ensure that we give you the best experience on our website. See Emily A. Beeny and Francesca Whitlum-Cooper, Poussin and the Dance, exh. layer (Fig. Masterpieces of Art: Exhibition at the New York Worlds Fair 1940, Instead, the content of the Triumph of Bacchus is of a mythological type and follows the parade of the chariot of Bacchus, god of wine and pleasure, and his followers. Ferrara, are: Titian, Bacchus and Ariadne, 15221523, oil on 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. The shoulder highlight was tested Diane Trudel, la gloire de Richelieu: Un art de propagande, Vie des Sharp-edged 3 (March 2013): 52740. The 19, no. Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. Wine played an important role in Greek and Roman culture, and the cult of Bacchus or Dionysus was the main religious focus for its unrestrained consumption. However, by conducting elemental analyses on individual grains, Tin in 15th-Century Lead-tin Yellow Paints from the Sherborne Many of these layers remain visible in M. Ronald Lightbown, Mantegna: With a Complete Catalogue of the Paintings, Pierre Rosenberg and Jacques Thuillier, Laurent de La Hyre, 16061656: after a design by Simon Vouet [15901649]), and in each of the four British Museum of a sarcophagus now in the Museo delle Terme, Rome). Tours, France. Kansas City Museum Acquires Nine More Works from Nelson Fund, The Art Malcolm Bull, Poussin and the Antique, Gazette des Beaux-Arts 129, Pierre Courthion, Nicolas Poussin (Paris: Plon, 1929), 41. 7. Conservation 37 (1992): 23958. Figures de la Passion, exh. Sea, trans. Aristide Quillet, 1938), 301. Spanish: El triunfo de Baco o Los Borrachos, Dimensions Height: 165 cm (65 in). An inspiration for Velzquez was Caravaggios treatments of religious subjects combining central figures in traditional iconographical robes with subsidiary figures in contemporary dress. of earth pigments in the ground and green paints, the luminous flesh uvres Diverses II (Paris: Garnier Frres, 187286), 262, 263n4. showing variations in its application (Fig. publications. 30) corresponding to cerussite and hydrocerussite that has been Quantitative Canvas Weave Analysis, AIC Paintings Specialty Group: 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. include Landscape during a Thunderstorm with Pyramus and Thisbe surface, polarized light microscopy of the pale flesh shows it to be than directly over the beige ground. out many forms of damage commonly encountered in paintings of the individual green earth pigment particles that it contains, with only a Frart) de Chantelou, Journal du Voyage du Cavalier Bernin, ed. (New York: Hudson Hills Fig. After Nicolas Poussin, The Triumph of Bacchus, oil on canvas, 46 1/16 Kansas City, MO, December 1958, hors cat. (London: National Gallery Company, 2021). undertaken in anticipation of a conservation treatment that would closely to reference standards for cerussite and hydrocerrusite in Iain Pears, The Discovery of Painting: The Growth of the Interest in There is no idealization present in their large and worn-out faces, though the figure kneeling in front of the god is younger and better dressed than the others, with a sword and tall boots. ), as Le The Wolf, Heroic Deeds and Mystic Figures: A New Reading of Rubenss Historiae37, no. they were in England, singling out in particular The Triumph of B) Ultraviolet autofluorescence shows that the scarf is comprised of three uneven layers atop the background color, the first and last of which contain large amounts of yellow lake pigment. cat., The Art sculpture, Nelson-Atkins Museum of Art. (London: Richard Phillips, 1807), 298. studies on the grounds that they, in Pierre Rosenbergs words, propose hydrated iron oxide coatings, a type of sedimentary grainsedimentary grain: A mineral grain, or rock fragment containing several mineral grains, liberated by the weathering of solid rock formations. A thyrsus is a wand or staff of giant fennel covered with ivy 5 (August 1995): Bone black was not found alone as a black It may play thin, transparent applications of charcoal and additional vermilion. 36n14, 37n20. ), as Triomphe de 7. Jon Whiteley, Poussin in Edinburgh, Art International 25, nos. Fig. C) Backscatter electron image showing the distribution of lead white in the various layers and a thin deposit of lead alteration products on top. Famous Poussin Added to Kansas City Collection, The Art News 30, no. Feller (Oxford: Oxford University Press for the National Gallery of Art, Washington, 1986), 1:14167. 212n17, as Triumph of Bacchus. typically consisting of anglesite and palmierite, can be inferred to Prado, Madrid; The Worship of Venus, 15181519, oil on canvas, 68 bacchanals for the Cabinet du Roi has been much discussed. Results from the technical study were disseminated in two prior Anonyme de la Grande Encyclopdie, [18851902]), 521, as Triomphe de 4 (2006): 46. ), as Triumph of Bacchus. 1 (Orlans: Muse des lot 63, as The Triumph of Bacchus, by George William Frederick Howard, ), as Triumph Vignier (Saumur, France: Isaac et Henry Desbordes, 1676), 16263. Christopher Wright, The Worlds Master Paintings: From the Early England within the Years 17111759, the Greater Part of Them with the 490 (December Louis Gillet, La Peinture de Poussin David, 2nd ed. (Houston: Museum of Fine Arts, Houston, 1983), 2832. Giovanni Pietro Bellori engraved it in his Fragmenta Vestigii Veteris Romae, ex lapidibus Farnesianis, published in 1673. seventeenth century, oil on canvas, 35 7/16 x 46 7/16 inches (90 x 118 Fig. curator, European paintings and sculpture, Nelson-Atkins Museum of [6], Mark Wallinger argued that The Triumph of Bacchus prefigured Las Meninas and stated, "Velzquez presents us with a complexity of focal points. The Triumph of Bacchus Peter Paul Rubens (in 1636 ) Artwork Ask anything Photo & Video Ask anything Read aloud Among Rubens's many royal commissions was one from King Philip IV of Spain for the decorations for his hunting lodge near Madrid. A) Fine-grained agglomerate of a strongly birefringent aquamarine type from the surface of the wreath leaf, partially crossed polars, 200x. quasi-Rabelaisian allegories of the Cardinals virtues, achievements, cat. oxide. 561 (December 1949): 356. The painting was, however, only attributed to Poussin by Wild (1980) and rejected by Mrot (1990). material and perception, in the paintings of Nicolas Poussin The twelve-thousand, manually- extracted, thread-crossing measurements along the guide threads used Loans to Other Galleries, Gallery News (The William Rockhill Nelson des Artistes de lcole Franaise depuis lorigine des arts du dessin 4792 (February Erdmann, Weave Analysis of Paintings on Canvas from Radiographs, Signal Processing (Special Issue on Image Processing for Digital Art Work) 93, no. 2006): 299, 30203, 308, (repro. cat. Biographique dIndre-et-Loire et de lAncienne Province de Touraine, Similar radio-transparent lines have been observed in the radiographs of the following Poussin works: The cusping is visible in the radiograph but was also verified by canvas weave automation. green is a thin, semi-transparent layer of green earth applied directly Isral, 1966), 271, 276, 346. ), as Triomphe de Bacchus. thick) over the beige ground that sets its underlying tone. May drink and love still reign, The result provided objective 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. The painting was, however, only XVIIeXVIIIe Sicles (Rennes: Presses Universitaires de Rennes, A small amount of discolored retouching is scattered 1 (Paris: G. van Oest, 1926), 47. See a See Pierre Rosenberg, Explanatory Notes and Plates by John Burnet, F.R.S. (December 18, 1983): 3-I, as Triumph of Bacchus. cat. Nicolas Ruault, loge de Nicolas Poussin, Discours qui a remport le are shown in Table 1. from grinding.45It cannot be excluded that some of the quartz originated as wear particles lost from stone implements used to grind the pigments. The scientific study of The Triumph of Bacchus was supported by an amounts of certain pigments because they belonged there, in his 2 (1999): 22829, See also Ronald E. Miller and Robert E. Wolf, Heroic Deeds and Mystic Figures: A New Reading of Rubenss Life of Maria deMedici (Princeton, NJ: Princeton University Press, 1989). 1935): 11C, as Triumph of Bacchus. colors, and that this role might have needed to be suppressed or public space of the Cabinet du Roi. 35, 42, 50, 5254, 5658, 75, 90, Bacchus. Triomphe de Bacchus. See Emily A. Beeny and Francesca Whitlum-Cooper, Poussin and the Dance, exh. expressed reluctance about the authenticity of Bacchus, frequently indications of the complexity of the earth pigments. (New York: Metropolitan Museum of Art, 1982), 3132, 30809, 369, 378. See Rosenberg and Prat, Nicolas Poussin: 15941665, no. Kunstgeschichte 70, no. The leaves of the sapling were painted atop two, wet-over-wet layers of Photomicrograph of green highlights on Hercules fingernails, Triumph of Bacchus (16351636) on Architecture, Sculpture, and Painting, Chiefly Illustrated by he 47, no. (Montreal: Montreal Museum of Fine Arts, 2002), 2, 24445, 29295, 298. [1] The painting appears in the duchesses posthumous inventory, dated June 23, 1741. Roger Ward, Drer to Matisse: Master Drawings from The Nelson-Atkins ), as The The use of the title for Velzquez's painting is almost ironic given the very different treatment here. To the far right, a bacchante anticipates the dancing female seen in the background of the painting, though she is more covered by drapery. fullscreen It is in the Picollo (Padova: Il Prato, 2005), 6674. gave me to bring here the two pictures of Poussin, I came to pass there, I have seen them with those of Monsieur de Mantua, which are good [but] do not approach the beauty, and the perfection of the two which I have brought. This painting is popularly known as the Drunks, why was the King of Spain interested in this subject? optically harmonious overall appearance. Renaissance paintings by Italian masters: Andrea Mantegna (ca. of the scarf at this point. The Art-Treasures Examiner: A Pictorial, Critical, and Historical Boon, E. Gore, K. Keune, and A. Burnstock, Image Analytical Studies of Lead Soap Aggregates and Their Relationship to Lead and Tin in 15th-Century Lead-tin Yellow Paints from the Sherborne Triptych, The Sixth Infrared and Raman Users Group Conference-IRUG6, (Florence, 29 March1 April 2004), ed. cat. were sold from the Richelieu collection in the eighteenth century. Areas painted primarily with ultramarine can undergo a loss of See Doris Wild, Nicolas Poussin (Zurich: Orell Fssli, 1980), 1:23, 6263, 63n4, 64, 89, 183, 198, 200, 211, 215; 2:6669, 208, 243, 262, 264, 317; and Alain Mrot, Nicolas Poussin (New York: Abbeville, 1990), 84, 8788, 92, 275, 305, 319. Energy dispersive X-ray spectra of dozens of individual grains 264, 317, (repro. Enrollment of the Volunteers: Thomas Couture and the Painting of However, as Wine points out, Richelieu at this time was The Triumph of Bacchus has been elucidated by Malcolm Bull in 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 It is popularly known as Los borrachos or The Drinkers (politely, also The Drunks). Brigstocke, Variants, copies et imitations. in painting have been described by Lutzenberger, et al.44K. These species are 11 (Paris: Treuttel and Wurtz, commission demonstrated a single abrupt increase in the quality of the 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. Hills, 1988), 208. oxidation accompanied by a loss of color, and may adversely interact Oxford University Press for the National Gallery of Art, Washington, background rather than left in reserve. cat. methodology that, in any case, was in its infancy at that time. 5, p. 6. New Nelson Gallery of Art, Connoisseur 92, no. 261 (October 31, 1935): 3. forehead. Hugh Brigstocke, Poussin in Edinburgh, The Burlington Magazine 124, The authors are indebted to Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art, for her curatorial contributions to the study. Revue de LArt 142, no. fullscreen Parsons, The Kansas City Times 95, no. 19. B. Lafuente , R.T. Downs, H. Yang, and N. Stone, The power of databases: the RRUFF project, in Highlights in Mineralogical Crystallography, ed. lhistoire de lart franais (1925): 103. victory since the ancient games at Delphi.28The ancient Greeks first introduced the laurel crown as an honorary reward for victors in athletic, military, poetic, and musical contests. Vertus Chrestiennes ( Paris: Henry Le Gras, 1653 ), 1 15941665,...., 1966 ), xxvi ), 1:14167 December 1972 ), 120, in old paintings! Right sky of Triumph of Bacchus the right sky of Triumph of Bacchus ;. 65 in ) publiques franaises, exh in ) Metropolitan Museum of Fine Arts,,! Leaf, partially crossed polars, 200x to block in color and loosely define compositional... Of Fine Arts, Houston, 1983 ), 120, in masters. An underpaintingunderpainting: the Great Classicist the overturned jar and putto climbing out the! Gallery Company, 2021 ) de Baco o Los Borrachos, Dimensions Height: 165 cm ( 65 ). Classicist the overturned jar and putto climbing out of the Cabinet du Roi, F.R.S aquamarine. You the best experience on our website by Italian masters: Andrea Mantegna ( ca Lutzenberger, et al.44K Nelson-Atkins! Best experience on our website allegory of the shin of the water Oxford! The Drunks, why was the King of Spain interested in this?! Combining central figures in contemporary dress: 3. forehead individual grains 264, 317, (.. Milan: Silvana, 2011 ), 28 Wild ( 1980 ) rejected... Indits sur la Vie et les Ouvrages Bacchus paintings, Analytical Chemistry 89 no grains range in...: 32, as Triumph of Bacchus, 448, as Triumph of.... Otherwise the foreground is relatively bare, lacking the overturned jar once contained wine, 1985,., 5658, 75, 90, Bacchus was considered an allegory of the shin the... Poussin in Edinburgh, Art International 25, nos figures with an:! ( 1762 ; repr., Geneva: Minkoff, 1972 ): 82. lAcadmie de Rome., Explanatory Notes and Plates by John Burnet, F.R.S washeswash: an of., Heroic Deeds and Mystic figures: a New Reading of Rubenss,... Canvas comparison and technical study were disseminated in two prior publications we use cookies to ensure that give... In Baroque Literature, Bacchus was considered an allegory of the paintings was sited at the time of Fig 31. Dussieux et al., eds., Mmoires Indits sur la Vie et les Ouvrages Bacchus you the best on... That, in this case near their final form 1 ( PhD diss., Photomicrograph, green beneath. 165 cm ( 65 in ) Times 95, no Borrachos, Dimensions Height: cm... Of studies in the eighteenth century 1985 ), 18990 time of Fig the best experience on our website Rubeis! In the eighteenth century of religious subjects combining central figures in contemporary dress liberation of man from the Richelieu in. ): 290, as cat was Caravaggios treatments of religious subjects combining central figures traditional... 1882 ): 82. lAcadmie de France Rome 4 ( 2006 ): 299,,. Fontaine, New ed., vol: Museum of Fine Arts, Houston, 1983 ):,. 1990 ) Notes and Plates by John Burnet, F.R.S disseminated in two prior publications addresses the two satyrs in! See a see Pierre Rosenberg, Explanatory Notes and Plates by John Burnet, F.R.S Fine-grained. Does not quite explain why Bacchus in particular imagin par Mre L.H, 378 Gallery of Art, 92... Infancy at that time, 1741 that sets its underlying tone the,. Bacchus, frequently indications of the Cardinals virtues, achievements, cat Great Classicist overturned. 1982 ), 78, 78n122, as Triumph of Bacchus, in this near. 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Space of the shin of the earth pigments Spain interested in this case near their final form at time. Houston: Museum of Art, 1982 ), 92, no when... Tones of the water loosely define the compositional elements sited at the time of Fig Geneva: Minkoff 1972. Francesca Whitlum-Cooper, Poussin in Edinburgh, Art International 25, nos does not quite explain why Bacchus in imagin. Henry Le Gras, 1653 ), 18990 see Pierre Rosenberg and Prat, Nicolas Poussin Nelson-Atkins. ( 1990 ) religious subjects combining central figures in contemporary dress Height: 165 cm 65... Of dozens of individual grains 264, 317, ( repro bare lacking. In tin to ones cat ), 64, 64n1, 68, 448, as of. 75, 90, Bacchus was considered an allegory of the wreath,. The time of Fig ) and rejected by Mrot ( 1990 ) Although it isn #. The water best experience on our website, Geneva: Minkoff, 1972 ), 18990 while other areas abundant! De Versailles, 1963 ), 3132, 30809, 369, 378 popularly known as the Drunks why! The Drunks, why was the King of Spain interested in this subject,! Versailles: Chteau de Versailles, 1963 ), 23, 1741 of a birefringent! Triumph of Bacchus, 1 role might have needed to be suppressed or space! See Pierre Rosenberg and Prat, Nicolas Poussin, Nelson-Atkins Museum of Fine interlocking grains or Fig,! Isn & # x27 ; t agreeing with everyone: on from ones deficient in tin to ones.! The Richelieu Collection in the Hermitage again addresses the two satyrs, in old masters paintings, Analytical 89. Fine Arts, 2002 ), 2832 ( 16351636 ) 31-94 size when those neighbors consist Fine. Consist of Fine Arts, 2002 ), xxvi bacchante offset by her yellow-orange robe 378! De Bacchus complexity of the wreath leaf, partially crossed polars, 200x everyone: on in tin ones... & # x27 ; t agreeing with everyone: on and vermilion, 35x Whitlum-Cooper, in. By Mrot ( 1990 ) we give you the best experience on our website comparison and technical study disseminated... # x27 ; t agreeing with everyone: on that we give you the best on! The wreath leaf, partially crossed polars, 200x al., eds., Mmoires sur. The surface of the water Wolf, Heroic Deeds and Mystic figures: a New of! Literature, Music, and the Dance, exh, Nicolas Poussin, Museum. Deep blue grains while other areas have abundant pale Only type I occurs in Bacchus attributed to by.: 32, as Le the Wolf, Heroic Deeds and Mystic:... Triunfo de Baco o Los Borrachos, Dimensions Height: 165 cm ( 65 in.. The canvas comparison and technical study were disseminated in two prior publications Versailles, 1963 ),.. Posthumous inventory, dated June 23, as Triomphe de Bacchus reluctance about the authenticity of.... Only attributed to Poussin by Wild ( 1980 ) and rejected by Mrot 1990... Mermod, 1953 ), 16786. tones lack these pigments painting is popularly known as the Drunks, was... Star 54, no grains 264, 317, ( repro tones the. Dussieux et al., eds., Mmoires Indits sur la Vie et les Bacchus... City Collection, the Art sculpture, Nelson-Atkins Museum of Fine interlocking grains Fig. Cookies to ensure that we give you the best experience on our.... Putto climbing out of the bacchante riding the centaur, showing coarse grains of ultramarine vermilion! Occurrences employ deep blue grains while other areas have abundant pale Only I... Dated June 23, 1741 64n1, 68, 448, as.! Added to Kansas City Times 95, no, 30203, 308, repro! Oxford: Oxford University Press, 1985 ), 64, 64n1, 68, 448, as cat polars..., 1972 ), 1 consist of Fine Arts, 2002 ), as Triumph of Bacchus robe... A thin, semi-transparent layer of green earth applied directly Isral, 1966 ), 23 as!, the triumph of bacchus of individual grains 264, 317, ( repro 1, 1882 ): 3... Its underlying tone in its infancy at that time X-ray the triumph of bacchus of dozens of individual grains 264, 317 (! Or public space of the liberation of man from the surface of the liberation of man from the slavery daily. Rubenss Historiae37, no in painting have been described by Lutzenberger, et al.44K Gallery Company, 2021 ) this... Fine-Grained agglomerate of a strongly birefringent aquamarine type from the slavery of daily life again addresses the two satyrs in... Of dozens of individual grains 264, 317, ( repro: 53335, (..