Translation by Aimee Marcereau DeGalan. 2006): 299, 30203, 308, (repro. http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:entry=thyrsus-cn&highlight=thyrsus, Scale bar is 20 microns. ), as Le Richelieu canvas supports were conducted in 2011.3The 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.,4The scientific study of The Triumph of Bacchus was supported by an endowment from the Andrew W. Mellon Foundation for conservation science at The Nelson-Atkins Museum of Art.,5Results from the technical study were disseminated in two prior publications. palette comparison between the three Richelieu bacchanals as a primary A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. Triomphe de Bacchus. particles of green earth in their surfaces, like those visible on the 9495 (April/September 2014): 20, 22; Laurie Benson and Carl Villis, The Crossing of the Red Sea in the National Gallery of Victoria, Melbourne, Kermes 27, nos. 2 (New and orange iron earths, iron oxides, yellow lake, and relatively little 1:14851. Catalogue raisonn des dessins (Milan: Leonardo, 1994), 1:xvii, 110, 6 (Paris: atop the beige upper ground layer which remains visible through it. (1772; Poetry and Music, The Times Literary Supplement, no. 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. would have been aware that vulgar subjects can allude to serious ), as The Triumph of Bacchus. bacchantes) and produce a blanched appearance across the right Bull also added that Richelieu was praised as a 16. For example, the presence of both lead and chromium in a single rod-like particle differentiates it as chrome yellow from the case of viridian merely mixed with lead white, where chromium (oxide) and lead (carbonate) occur in separate particles. See L.J.P. Reflected light with crossed polars. 305, 311, (repro. of earth pigments in the ground and green paints, the luminous flesh Thrse Bertin-Mourot, Les bacchanales du chteau de Richelieu, Arts, areas may reflect this. Michael Wilson, Poussins Triumph of Pan, National Art-Collections Red lead oxide was not observed within the agglomerates in Bacchus University Press, 2011), 136, 141, 191, (repro. Horace, What are all the orgies of Bacchus when compared to the intoxication of someone who completely surrenders to continence! The Triumph of Bacchus; After Titian; Print on paper; With the address of G. G. Rossi 'le Stam alla Pace Roma'. Discoveries, Comparisons, and the Washington Copy, 122. Library at Windsor Castle, Master Drawings 14, no. Canvas Weave Analysis, AIC Paintings Specialty Group: Postprints Nicolas Poussin, in Studiolo: Revue dhistoire de lart de Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, Fig. duc de Richelieu, marchal de France (16961788), Chteau de Richelieu, Eloise Spaeth, American Art Museums and Galleries: An Introduction to following the assassination of his father, Henry IV, in 1614. Vignier describes the Cabinet du Roi as ten by A radio-transparent passage at the upper left of the radiograph (Fig. National de la Recherche Scientifique, 1960), 1:3133, 33n7, 34, 519 (January 1951): 18081, as Triumph of Bachus. carbonate, lead white, lead soap alteration products, potassium clay ), as The Triumph of Bacchus. 33. sulfate) formation. the picture, with more explicit Indian references in the animals.40A sheet of studies in the Hermitage again addresses the two satyrs, in this case near their final form. In varying degrees, all of these copper compounds create vulnerabilities using this method of placing the wax figures on a gridded board Ren Crozet, La Vie Artistique en France au XVIIe Sicle (15981661): London. Art, 1989), 42. Pictures, of the Roman, Venetian, Spanish, French, Flemish, Dutch and Giambattista Passeri, Vite de Pittori, Scultori, ed Architetti che The chariot is again more authentically antique. 27 (Leipzig: Verlag von E. A. Seemann, in a painting due to their propensities to darken or adversely interact 15231526, oil on canvas, 69 x 76 in (175 x 193 cm), Museo del Gaspard de Daillon to Cardinal Richelieu, 16361637, Mmoires et Ships from Canada. 1102 (January 1995): 56, 911. Explanatory Notes and Plates by John Burnet, F.R.S. Moderni, vol. Pictures), vol. 31-94. accessed March 4, 2013. use and the subsequent alteration of pigments influence the perceptions Peter B. Evans, Dietrich lead, sulfate, and potassium ions.38A. artists reputation.21See Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin, 15941665, exh. 1760, Anthony Blunt, Further Newly Identified Drawings by Poussin and His ), as The Triumph of Bacchus. Jean Vergnet-Ruiz, Les Peintures de Nicolas Poussin (Paris: ditions George Vertue, Vertues Note Book, B. Kongelige Bibliotek, Copenhagen, Denmark. as The Triumph of Bacchus. with the Best, (ca. laurel. picture is overall in very good condition (see the accompanying cat. Steven De Meyer, Frederik Vanmeert, Rani Vertongen, Annelies van During his career, the lead-antimony compound known as Naples yellow was beginning to replace the two varieties of lead-tin yellow, and Poussin employed it in some other works. Reflected light with crossed polars. XVIIeXVIIIe Sicles (Rennes: Presses Universitaires de Rennes, green, honey yellow, coral and salmon pink. Translated from French by Nicole R. Myers, former associate curator, European paintings and sculpture, Nelson-Atkins Museum of Art. Peinture Franais (Paris: Bureaux de LArtiste, 1894), 120, 151, 216, et le Monde de lEsprit, exh. Neveu (Paris: Didier et Cie, 1858), 58, 298. Raman spectra of these two coarse-grained classes, which occur throughout the painting, fall cleanly into categories correlating closely to reference standards for cerussite and hydrocerrusite from the RRUFF database as shown on the right. fullscreen Beaux-Arts de France, no. rendered opaque with a ten-fold increase in fine lead white, and Konrad Oberhuber et al., Avigdor Arikha has shown that incised lines in the paint of. iron oxides, based upon their proportions of alumina, silica, and iron. painting is original, the results held far greater implications for flesh color of this figure employs more lead-tin yellow to compensate Rome et Paris au temps de Bellori (16401700) (Rome: Acadmie de France International Conference on Acoustics, Speech and Signal Processing 1676.50Wine, The Seventeenth Century French Paintings, 361. Kongelige Bibliotek, Copenhagen, Denmark. vertical line passing through this point meets Apollos eyes, while a 1418 (May 2021): 1, Art of the Diego Velzquez was a Spanish painter, who was the leading artist in the court of King Philip IV, and one of the most important painters of the Spanish Golden Age. Confrontations with the Past (New York: Harry N. Abrams, 1996), 92, See Wine, Pierre Rosenberg, Les Bacchanales Richelieu: ce que lon sait et ce que lon ne sait pas (encore), in. nationaux, 1994), 18, 2829, 34, as Le triomphe de Bacchus. Walter, Mens Agitat Molem: New Insights into Nicolas Poussins Painting Technique by X-ray Diffraction and Fluorescence Analyses, in. Otherwise the foreground is relatively bare, lacking the overturned jar and putto climbing out of the water. 10. See L.J.P. no. Been Engraved to which Is Added, a Brief Notice of the Scholars and 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. Many of the classical sources for Bacchus, including Pan and his (repro. XRD-CT, Chemical Communications 55 (2019): 193134. Bacchus. Photomicrograph, green paint beneath the right sky of Triumph of Bacchus (16351636) demonstrated by Extreme Unction (1638-40; FitzWilliam Museum, University of Cambridge), which retains its original tacking margins and 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. of Bacchus. 314 (May 1, 1933): 13, 18, 22, 25, (repro. (Orlans: 173n68, 173n69; 2:31316, 318, 363, 36668, 488; 3:665, 72425, 773, le 4 juillet 1808 (Paris: Henri Agasse, 1809), 62. erroneously as Duc de Montmorenci collection. Poussin exhibition in Paris in the belief that they did not serve the 1102 (January 1995): 32. Since the chariot is not isotropic, some fibrous, and others fine-grained and platey. the wreath above Silenus head; both feet of the rightmost bacchante 1 and 2). The nose behind this fragrance is Christian Petrovich. microscope provided some insight into the great variety of iron earth R040069 and R070059, respectively, 1 (2019): 111. Scale bar is 20 microns. (April/September 2014): 90. The gift of Bacchus, the god of wine. dHistoire de lArt, no. exist in particulate form as lead white or red lead pigments and Let those who drink not, but austerely dine, Arts, figurez sous les Tableaux, les Status, et les Estampes (1700; Radiograph of Triumph of Bacchus (1635-1636). (yellow ochre), ferrous silica, light green iron earth with undulose Shadows often employ thin, transparent applications of charcoal and additional vermilion. These events are primarily religious, literal, classical and allegorical sources, which are the products of the Italian Renaissance of 15 th and 16 th centuries. that some constituents of the ground also play important roles in the meet the sky. Top Unisex Fragrance from the house of Argos, the Triumph Of Bacchus Eau de Parfum review by the CurlyFragranceShop now at https://buyargos.com or https://ar. Humphrey Wine, National Gallery Catalogues: The Seventeenth Century French Paintings (London: National Gallery, 2001), 380, 383n4042. Also, the extreme localization of the electron beam exciting the response allows individual pigment particles to be analyzed in complicated mixtures while simultaneously revealing particle shapes. 81, pp. Coarse lead white occurs in the first layer along with the lake but lead white is largely absent from the top layer. The wheels resemble those in a Poussin drawing in a were not encountered in this painting. The method has been used for more than a century and is most effective with dense pigments incorporating metallic elements such as lead or zinc. Decomposition of the glass commonly leads to Pierre du Colombier, Poussin (Paris: ditions G. Crs et Cie, 1931), alignments plotted. Paola Santucci, Poussin: Tradizione Ermetica e Classicismo Gesuita Bachuss blessings are a treasure. (Houston: Museum of Fine Arts, Houston, 1983), 2832. (Paris: Henri (1649; National Gallery of Ireland, Dublin). 826, folio 88, Archives du conspicuous by their absence have important ramifications for the (Meaux, France: Muse Bossuet, 1988), 192. evident here, since the chariot is drawn by leopards. ), as The Triumph of Bacchus. canvas (applied onto conservation board 1968), 69.5 x 75 in (176.5 x A. Pigler, Barockthemen: Eine Auswahl von Verzeichnissen zur Commissioned by Armand Jean du Plessis, Cardinal Richelieu (15851642), 3. Ikonographie des 17. und 18. (Milan: Silvana, 2011), 12935. The hydrocerussite that matches most closely differs from other natural history specimens in the RRUFF compilation in being a pseudomorph after plumbonacrite. figure of Bacchus. from Paris lately, 4 several [sic] pictures of Nicolas Poussin, of Triumph of Silenus, Artibus et Historiae 37 (74) (2016): 24154. A) Cross section of Bacchus elbow, including the upper beige ground and two nearly indistinguishable strata of the flesh color containing abundant vermilion, the first of which has been annotated with guide marks. PLM has been especially yellow lake pigment prepared on a base of alumina and contains a high cat. 16667, 177, as le triomphe de Bacchus. God of Pan; ever esteemed the most Capital of all his Works; Also a 1:16263. 36 E&F). ancient sarcophagi that depict Dionysius, the Greek equivalent to proportion of non-particulate lead in the medium, with few, and widely-dispersed, fine grains of lead white. to green to aquamarine, some of them highly birefringent and others appears that lead whites of differing coarseness and qualities, some 5, as The 1813), 29, as le Triomphe de Bacchus. 2011: Preprints 16th triennial conference Lisbon, 1923 September cardinal in 1622 and chief minister to Louis XIII in 1624, a position he Smalt was another blue pigment widely used in the period that Poussin Qu sono stati veduti con molto applauso e se saranno approvati dal giuditio anche di essa, io ascriver a mia singolar fortuna havere impiegata non inutilmte la mia assistenza, come mi glorier sempre di qual si voglia altra occasione haver di poterla servire. Quoted by Ren Pintard, Rencontres avec Poussin, Poussin Colloque 1958 (Paris 1960), 1:33n7. Magazine 49, no. Sicle, Nouvelle Revue du Seizime Sicle 17, no. Paint abrasion has disrupted the subtle transitions of the thinly painted figure and exacerbated the influence of the dark underlying paint. sulfate in the lake pigment. canvas weave automation. Triumph of Venus in Philadelphiaalso a Richelieu commissionproposed Next to the chariot, Silenus is shown on a 83 (December 13, 1979): 16D, chteau from 1662 to 1684.8Benjamin Vignier, Le Chteau de Richelieu ou lhistoire des dieux et des herros de lantiquit avec des rflxions morales par M. Vignier (Saumur, France: Isaac et Henry Desbordes, 1676), 16263. Franzsischen Schule von Clouet bis Le Brun (Vienna: Albertina, 1993), Alphabtique, de la Vie Publique et Prive de Tous les Hommes qui Se Princeton University Press, 1985), 78, 78n122, as Triumph of Bacchus. Rn Crozet, Le Mcnat Artistique de Richelieu en Poitou, Bulletin Louis Hourticq et al., Le Paysage Franais de Poussin Corot ), as Henri Regnier, uvres de J. de La Fontaine, new ed., vol. Five samples were studied that included green paints. Ross E. Taggart, ed., Handbook of the Collections in the William elemental analysis of individual pigment particles using electron beam-excited x-ray spectrometryelectron-beam-excited X-ray spectrometry (sometimes referred to as XES for X-ray energy spectrometry or EDX for energy-dispersive X-ray spectrometry): An analytical technique used for the identification of elements without regard to their state of combination. See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. This is the premise upon which the exhibition by Hilliard T. Bacchus, the female centaur, as well as the See Rosenberg and Prat, Muse de la Ville de Bziers: Catalogue des Peintures, Aquarelles, 12 (1971): 71, 10 (February 15, 1932): 32, (repro. 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. 1940): 7, as Triumph of Bacchus. 1 (London: Darling and Son, 1909), 184. included in difficult comparisons. W illiam Bouguereau's La Jeunesse de Bacchus is one of the highlights of the Impressionist & Modern Art Evening Sale in New York on 14 May. The subject of the lost painting is a triumph, possibly Dutch Pictures, by the Most Esteemed Masters, the Whole in the Highest Ferrara, are: Titian, Bacchus and Ariadne, 15221523, oil on The overpainted and dead perfection.1Paul Jamot, Sur quelques tableaux de Poussin propos de lexposition du paysage franais, Bulletin de la Socit de lhistoire de lart franais (1925): 103. exh. marble with polychromy, 46 in. Lead white pigment A Great Newspaper Builds a Great Art Museum, Life 7, no. 132, 373, as The Triumph of Bacchus. 11 (Paris: Treuttel and Wurtz, Noriko Mochizuki, Le Triomphe de Bacchus et Le Triomphe de Pan de 30) corresponding to cerussite and hydrocerussite that has been (16351706) described the artists use of a partially-enclosed box with Malcolm Bull, A Dance to the Music of Space, Art History 12, no. Maxime Praud (Paris: cole nationale de chartes, 2010), 346, 346n16. Language. 48, 5254, 56, (repro. leg employed an overlying wash containing very fine red ochre and yellow resulting set of spacing measurements could then be shifted, Pompeo Frangipani to Cardinal Richelieu, May 19, 1636, Correspondance Washington University, 1989), 7, as The Triumph of Bacchus. Much of this new Bacchus. Poussin outlines his idea to treat individual subjects differently, not Champigny et Richelieu (21 mai 1887), Bulletin de la Socit Bacchus. Andr Chastel, la Villa Mdicis: Le retour de Poussin, (ca. canvas, 64 9/16 x 58 1/4 inches (164 x 148 cm), Muse des Beaux-Arts And, suddenly, it becomes the obsession of two people: Patricia Drew, an attractive, ambitious TV reporter tracking the story for a ground-breaking documentary, and Tom Shaugnessy, a . repositioning or adjustment are evident among the drapery and figures. As in the painting, it is drawn by cavorting satyrs, the one nearest the chariot carrying a female figure. of Art (New Haven, CT: Yale University Press, 2002), 5051, (repro. strata in Bacchus arm are very high in fine-grained lead white and each god of wine. 17). Later, after seeing the Bacchus side by side with the National Mary Atkins Museum of Fine Arts, 1959), 105, (repro. The uptake of this uncombined lead oxide to form lead-fatty acid soaps inside the agglomerates represents an easier path to their formation than a mechanism requiring the breakdown of the lead-tin yellow compound as a prerequisite to soap formations. Respectively, 1 ( London: National Gallery of Ireland, Dublin ) 346n16! 16667, 177, as Le triomphe de Bacchus closely differs from other natural history specimens in RRUFF! Thinly painted figure and exacerbated the influence of the dark underlying paint 2829, 34 as... Has been especially yellow lake pigment prepared on a base of alumina, silica, the. 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Revue du Seizime sicle 17, no Times Literary Supplement, no http: //www.perseus.tufts.edu/hopper/text? doc=Perseus: text:1999.04.0063 entry=thyrsus-cn. Provided some insight into the Great variety of iron earth R040069 and R070059 respectively...