Friday, January 13, 2023

European Artists Projecting Antique Revels

Cornelis van Poelenburgh
Nymphs and Satyrs
before 1667
oil on copper
Musée des Augustins de Toulouse

Pietro Paolo Bonzi
Bacchantes dancing while Cupid subdues Satyr
before 1636
drawing
Musée du Louvre

Giulio Carpioni
Bacchanal
ca. 1665
oil on canvas
Palazzo Pretorio, Prato

Domenico Campagnola
Five Satyrs making Music
before 1564
drawing
Musée du Louvre

William Etty
The World before the Flood
before 1849
oil on canvas
Southampton City Art Gallery, Hampshire

Bartholomeus Spranger
Triumph of Bacchus
ca. 1585
drawing
Musée du Louvre

Paolo Fiammingo
Fruits of Love
ca. 1585-89
oil on canvas
Kunsthistorisches Museum, Vienna

workshop of Rosso Fiorentino
Worshippers of Cybele
ca. 1530-40
drawing
(study for stucco relief at Fontainebleau)
Musée du Louvre

Hans Friedrich Schorer after Paolo Fiammingo
Triumph of Cybele
1634
drawing
Metropolitan Museum of Art, New York

Anonymous Emilian Artist
Bacchanal (detail)
17th century
oil on canvas
Palazzo Lanfranchi, Matera

attributed to Jean-Baptiste Henri Deshays
Bacchanal
before 1765
drawing
Musée du Louvre

Michel Corneille the Younger
Bacchanal before a Term of Priapus
ca. 1660
drawing
Musée du Louvre

Giulio Romano
Maenads tormenting Satyr
ca. 1527
drawing
(study for fresco)
Musée du Louvre

Gabriel-François Doyen
Bacchanalian Celebration in Honor of the God of Gardens
ca. 1750-54
drawing
(study for painting)
Musée du Louvre

Charles Le Brun
Drunken Silenus supported by a Satyr
before 1690
drawing
(study for painting, Bacchus and Ariadne)
Musée du Louvre

Jan van Somer
Bacchanal with Nymphs and Satyrs
before 1699
mezzotint
Rijksmuseum, Amsterdam

"Especially in ragged surroundings objects from classical times are messengers of a higher reality, give an aching sense of what is missing, and mark the passage of time more vividly because its rough usage still goes on.  One could leave loose ends mysteriously dangling this way, significant of broken connections, or one could work the pieces into one's own unity, less grand than the original but more comfortable than shreds."

– Robert Harbison, from Eccentric Spaces (New York: Knopf, 1977)