Provenance

August Artaria

1807 - 1893

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A man and woman are surrounded by six pudgy children, some with wings, against a deep landscape in this square painting. At the center of the composition, the man, Bacchus, sits astride a wine barrel, which is about half his height. Bacchus has tanned, peachy skin, and is nude except for a claret-purple cloth draped across his groin. He wears a crown of grapevines with gold and purple fruit and palm-sized leaves. A staff topped with grapevines leans across one splayed leg, and he holds a shallow bowl in his left hand, to our right. With his other hand, he lifts a delicate gold circlet lined with tiny, bright stars over the woman, Ariadne. He smiles down at her as she reclines next to the barrel, to our left. Ariadne has ash-white, pale skin with flushed cheeks. She looks away from Bacchus, up and to our left, with large brown eyes and her full lips closed. She leans on one elbow near the barrel so her legs extend to our left. A few stems of wheat are tucked into her blond hair. She is nude except for a gold-colored cloth over her groin and a cameo on a gold band around her upper arm. She holds flowers and more wheat in the crook of her elbow, which rests near a tall urn, and touches a grapevine and bunch of grapes that drape over the urn with the other hand. Two putto, one with wings visible, hover behind her right shoulder, to our left. Another child-like putto drinks wine from a rope-wrapped bottle behind Bacchus’s barrel, to our right. A putto holds a round tray and another stands astride a cheetah, who lies in front of the barrel. This final putto holds up a vine with golden grapes and more grapevines are next to the tray. We are separated from the scene by painted architectural features meant to resemble carved white stone. The cheetah’s backside dips over a step that parallels the bottom edge of the canvas. Imaginary creatures in the lower corners have the bodies of large cats, chests with women’s breasts, long necks, curling ears, and long-snouted dog’s faces. Tall, brown, leaf-like forms rising along each side of the painting are wrapped with gold ribbons. Stone molding curls into the scene from the upper corners like parentheses, and the innermost scrolling ends meet at the top center. One more putto, also with wings, leans against the volute to our left, holding up flowers with both hands. Most of the putti have pale or rosy skin and dark blond hair, except for the one standing over the cheetah, who has brown skin and dark brown hair. Tucked into the scene in the lower left, just past the imaginary creature there, another pale-skinned person with a long nose, pointed chin, and the suggestion of jowls is shown from the waist up, looking toward Ariadne. This person has short dark hair and wears a black garment and a square hat in the shape of a white stone castle. A dark green hill rises behind this person, and a satyr, a man with goat’s legs and horns, walks alongside a donkey on which another pale-skinned child rides. There are white buildings with brown roofs in the distance in front of rocky, powder-blue mountains along the horizon. Puffy white clouds tower against the ice-blue sky above.
Giovanni Battista Tiepolo, Bacchus and Ariadne, c. 1743/1745, oil on canvas, Timken Collection, 1960.6.36

Bacchus and Ariadne

Giovanni Battista Tiepolo · c. 1743/1745 · oil on canvas ·  Accession ID  1960.6.36

The image depicts two individuals shown from slightly above the knees upwards. They are both positioned in a walking stance, leaning forward with determined expressions. The man on the left has a large, round nose and is wearing a textured hat, with a head covering tied under his chin. His facial features show pronounced lines and a beard. He is wearing a coat or heavy garment and holds a cane firmly in one hand. The woman accompanying him is slightly bent, with a large bonnet that covers her hair, and her facial features are also marked by deep lines. She wears a long dress or apron suggesting layering and her hands are clasped in front of her. In the background, there is a densely textured area representing foliage or a bush.
Rembrandt van Rijn, Beggar Man and Woman behind a Bank, c. 1630, etching, drypoint and burin, Rosenwald Collection, 1943.3.7068

Beggar Man and Woman behind a Bank

Rembrandt van Rijn · c. 1630 · etching, drypoint and burin ·  Accession ID  1943.3.7068

This is a drawing of a group of people gathered around a central figure. The drawing is intricately detailed in a monochromatic color scheme. The scene features various expressions and interactions among the figures, set against a mountainous landscape with trees and a sky. A crucifix can be seen in the far left of the composition. The style resembles that of Albrecht Dürer, showing detailed linework and a blend of movement and stillness within a historical or religious context.
Albrecht Dürer, The Deposition, c. 1497, woodcut on laid paper, Rosenwald Collection, 1943.3.3570

The Deposition

Albrecht Dürer · c. 1497 · woodcut on laid paper ·  Accession ID  1943.3.3570

The image shows three individuals in a medieval woodcut style. The person on the left is standing upright, facing slightly left, and holding a long, curved ribbon-like object. They have a prominent nose, thin angular facial features, and wear a tall pointed hat. They are dressed in long robes with wide sleeves. The second person is standing but turned slightly to the right, appearing stockier with a round face and a prominent chin, wearing a hat with a bent brim. They hold a book with an 'X' on its spine. The third figure stands to the far right, facing the viewer with long hair and an extensive beard in a sunburst pattern. They wear a robe and carry a cross. The scene has minimal background elements, with flowing banners containing text above each person in gothic style script.
Albrecht Dürer, The Teacher, the Clergyman, and Providence, probably 1526, woodcut on laid paper, Rosenwald Collection, 1951.10.21

The Teacher, the Clergyman, and Providence

Albrecht Dürer · probably 1526 · woodcut on laid paper ·  Accession ID  1951.10.21

The image shows three figures in the foreground. The central figure is standing slightly turned to the left, holding a large quill or branch. This person has a youthful face, short curly hair, and wears a robe with wide sleeves. Flanking this central figure on either side are two dignified figures adorned with ornate vestments, likely ecclesiastical robes, and elaborate mitres. They stand on a platform. In the background, there is an arch with scrollwork and decorative elements. Two cherubs are perched on columns on either side. Below the figures are two crests and a bishop's mitre. The scene is rendered in an intricate line drawing style, typical of a classic woodcut or engraving.
Wolf Traut, Saints Maximilian, Stephen, and Valentine, 1514, woodcut on laid paper, Rosenwald Collection, 1943.3.3697

Saints Maximilian, Stephen, and Valentine

Wolf Traut · 1514 · woodcut on laid paper ·  Accession ID  1943.3.3697

This is a battle scene featuring a dense and chaotic array of soldiers and weapons. The detailed drawing depicts numerous figures wearing various armor types and wielding weapons such as spears and swords. They are engaged in intense action against a forest backdrop. Additionally, a large, gnarled tree is visible in the upper right corner, adding a twisted natural element. The composition conveys depth and turmoil through the overlapping figures and dynamic postures. The style is reminiscent of the intricate compositions found in the work of Albrecht Dürer.
Albrecht Dürer, The Betrayal of Christ, 1510, woodcut on laid paper, Rosenwald Collection, 1943.3.3626

The Betrayal of Christ

Albrecht Dürer · 1510 · woodcut on laid paper ·  Accession ID  1943.3.3626

Albrecht Dürer, Time and a Fox Turning the Wheel of Fortune with People of all Ranks to the Right, probably 1526, woodcut on laid paper, Rosenwald Collection, 1951.10.22

Time and a Fox Turning the Wheel of Fortune with People of all Ranks to the Right

Albrecht Dürer · probably 1526 · woodcut on laid paper ·  Accession ID  1951.10.22

The image depicts a person standing in profile, facing right. The figure is hunched forward, one hand extended outward and the other hidden. The face shows detailed features, including a prominent nose and a pensive expression with age or concentration lines. The person wears a turban-like hat, and a fur-trimmed cloak drapes over their body. The cloak is slightly open, revealing some underlying clothing. The background is plain, emphasizing the figure and cross-hatched textures. In the top left corner, there is a small inscription saying "RE 1631."
Rembrandt van Rijn, Beggar with His Left Hand Extended, 1631, etching, Rosenwald Collection, 1943.3.7059

Beggar with His Left Hand Extended

Rembrandt van Rijn · 1631 · etching ·  Accession ID  1943.3.7059

This is a drawing of people gathered around a table in a richly decorated room. The scene includes numerous figures standing and sitting around a large table under a large stone archway and an ornate chandelier. The figures are engaged in various activities, some holding objects and others reading a book. The setting is framed by large draped curtains, and the stone walls show signs of age and texture. The lines and shading in the drawing provide texture and depth to the figures, architecture, and textiles.
Albrecht Dürer, Joachim's Offering Rejected, c. 1504/1505, woodcut on laid paper, Gift of W.G. Russell Allen, 1941.1.28

Joachim's Offering Rejected

Albrecht Dürer · c. 1504/1505 · woodcut on laid paper ·  Accession ID  1941.1.28

The image shows a sketch of a seated figure at the center, potentially on a throne, with two other standing figures close by. The central figure is holding a smaller figure on their lap. The sketch does not show detailed facial features or hair, but instead the figures from head to toe. The figures are wearing robes or draped garments, with flowing lines in the sketch to represent this. No jewelry or objects other than the smaller figure are included in the sketch. Around the scene is an architectural structure with columns and an arch, decorated with ornamental elements above, suggesting a religious or ceremonial setting. The background consists of the architectural features, without any additional scenery depicted.
Perino del Vaga, Altarpiece of the Madonna and Child with Saints, in Its Architectural Setting, 1528/1537, pen and brown ink on laid paper, Gift of The Circle of the National Gallery of Art, 1988.34.1

Altarpiece of the Madonna and Child with Saints, in Its Architectural Setting

Perino del Vaga · 1528/1537 · pen and brown ink on laid paper ·  Accession ID  1988.34.1

Bibliography

1913

  • Frimmel, Theodor von. Lexicon der Wiener Gemaeldesammlungen. 2 vols. Munich, 1913-1914:I:62-66

1932

  • "Tariff Kills Old Art Firm." Art Digest 6 (15 January 1932):2