Nicolas Poussin: Arcadian pastoral
Uncover the artistic influences within Poussin's 'A Bacchanalian Revel before a Term'
Nicolas Poussin (1636/1679) by Albert ClouetNational Gallery of Art, Washington DC
Nicolas Poussin (1594 - 1665)
Nicolas Poussin was a leading figure in the development of the classical tradition in French painting during the 17th century. Although born and trained as an artist in France, Poussin travelled to Italy in 1624 where he would spend much of his artistic career.
Italianate influences
Poussin was heavily influenced by the art he experienced during his time in Italy. The significant influence of 16th-century Venetian artists, such as Bellini and Titian, can be seen in many of his earlier works – especially through his use of colour and treatment of fabrics.
A Bacchanalian Revel before a Term (1632-3) by Nicolas PoussinThe National Gallery, London
While Poussin’s style, and the subject matter of his paintings, evolved notably throughout his artistic career, he is perhaps most widely renowned for his history paintings, which depict figures from the Bible, ancient history and mythology.
Here are just a few examples of Poussin's history paintings which feature scenes drawn directly from biblical and mythological sources. These works were painted from the early to mid-1630s, after Poussin had moved to Rome.
A Bacchanalian Revel before a Term (1632-3) by Nicolas PoussinThe National Gallery, London
The National Gallery collection contains a number of works by Poussin, including several that draw direct influence from mythology. One such painting is Poussin's ‘A Bacchanalian Revel before a Term’, made in 1632-3.
The painting features a bacchanalian festival – a chaotic scene of wild, drunken celebration. Scenes of this nature are typically associated with the worship of Bacchus, the Roman god of agriculture, fertility and wine.
The revellers, all in varying states of undress, squeeze juice from wine grapes and dance raucously, suggesting that that this is in fact a Bacchic festival, like those held during ancient Roman times to encourage a successful harvest.
These wild festivals were first held in secret and were later prohibited.
In this scene the revellers dance around a term – a carved bust of a bearded and horned man – which has been decorated with garlands of flowers.
The bust worshipped by the revellers is traditionally identified as Pan, the god of woods and fields, flocks and herds. The Greek word pan means ‘all’, conveying Pan's power over the earthly world and other gods. During the Renaissance period, Pan was often associated with lust.
However, the painting does not include Pan’s usual attributes: a shepherd’s crook and musical pipes (as shown here in another of Poussin’s paintings 'The Triumph of Pan').
Their absence may support the idea that the statue could instead be Priapus, god of gardens and fertility.
A Bacchanalian Revel before a Term (1632-3) by Nicolas PoussinThe National Gallery, London
It is possible that the painting may depict either Pan or Priapus, who were both followers of Bacchus. However, the painting’s pastoral setting, with its distant mountains and flourishing trees suggests the scene may be set in Arcadia, the native land of the god Pan.
Arcadia
Arcadia was first written about by the Greek poet Theocritus in his 'Idylls' of the third century BC. It is a land described by the ancient poet as being inhabited by shepherds, nymphs and satyrs - a mythical realm representing an idyllic vision of unspoiled wilderness.
A Bacchanalian Revel before a Term (1632-3) by Nicolas PoussinThe National Gallery, London
Studying the past
Poussin extensively studied the classical past and aimed to recreate this ancient world for his educated, aristocratic patrons.
Sarcophagus with Fighting Amazons (330 BC - 310 BC) by unknownKunsthistorisches Museum Wien
Despite the frantic and lively activity displayed in Poussin's painting, the figures are deliberately formed and arranged to mimic the features portrayed in classical sculpture, specifically in ancient Roman and Greek sarcophagi (stone coffins).
A Bacchanalian Revel before a Term (1632-3) by Nicolas PoussinThe National Gallery, London
The crisp drapery and muscular physique of the dancers, paired with the conscious arrangement of the scene, shows how strongly Poussin's style is influenced by the form of classical sculpture.
The position of each dancer has been carefully considered. If we look closely, we can even see the way in which the dancer's arms have been meticulously placed so that they appear to mimic the shapes of the overlapping branches in the trees behind them.
The Adoration of the Golden Calf (1633-4) by Nicolas PoussinThe National Gallery, London
The same group of dancers which feature in 'A Bacchanalian Revel before a Term' also appear in one of Poussin’s later paintings, 'The Adoration of the Golden Calf' (painted in 1633-34). Only, this time, the dancers are painted in reverse.
A Bacchanalian Revel before a Term (1632-3) by Nicolas PoussinThe National Gallery, London
This painting gives us a direct insight into Poussin's literary and artistic influences as well as his artistic process. It encourages us to look more closely at the layers of influence and meaning emanating from within Poussin's works.
