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Figure of a Woman
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto
Figure of a Woman
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto

This work is a fragment of a painting that showed the visit of the god of wine to mortals, as is Detail of the Head of Bacchus (P-1123) and another painting in Bogotá. The work, based on an Hellenistic relief, may have formed a pair with A Sacrifice to Bacchus by Massimo Stanzione (P-259).

Detail of the Head of Bacchus
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto
Detail of the Head of Bacchus
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto

This fragment, together with Figure of a Woman (P-1122) and a third work in Bogotá, are the only remaining parts of a painting of the Triumph of Bacchus that is based on an Hellenistic relief, and shows the visit of this god of wine to earth and that was probably painted to form a pair with A Sacrifice to Bacchus by Massimo Stanzione, which is also in the Prado (P-259).

The Feast of Bacchus
Oil on canvas. 1628 - 1629
Velázquez, Diego Rodríguez de Silva y
The Feast of Bacchus
Oil on canvas. 1628 - 1629
Velázquez, Diego Rodríguez de Silva y

Documentation of payment received by Velázquez in July 1629 for an image of Bacchus painted at the king`s behest informs us of the work`s approximate date and identifies its intended recipient. This was shortly before the artist`s first visit to Italy, barely five years after he began working for the king and at a time when he had just met Rubens. During this period, he was specialized in p

The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado
The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado

This is a sketch of the fresco that Corrado Giaquinto painted in the former stairway at the Madrid’s Royal Palace, which is now the Hall of Columns. That fresco, his last work at the Royal Palace, is undoubtedly one of the finest paintings from Giaquinto’s Spanish period.He concluded it in 1762, so the sketch presented here must have been made slightly earlier. At the top is the figure of Apollo,

Offering to Bacchus
Oil on canvas. 1720
Houasse, Michel-Ange
Offering to Bacchus
Oil on canvas. 1720
Houasse, Michel-Ange

This pagan scene shows the offer that the Bacchants, or followers of Bacchus, made to their god. In the center, a priest offers the sacrifice on an altar in front of the statue of the deity crowned with grape leaves. All around, those attending the feast drink, or appear totally inebriated, sleeping off the effects of the wine. This mythological scene shows how Houasse was influenced by the tradit

The Triumph of Bacchus
Oil on canvas. 1844
Alenza, Leonardo
The Triumph of Bacchus
Oil on canvas. 1844
Alenza, Leonardo

Pareja de la obra El sacamuelas (P7945) y pintado en el mismo año de 1844, presenta una clara relación con la obra homónima de Velázquez, que Alenza conoció en el Museo del Prado. En este lienzo, de todos modos, se resaltan mucho más los extremos de la embriaguez y el carácter burlesco de los personajes. La pintura revela un sentido abiertamente popular y jocoso. En el interior abovedado de una ta

Bacchus and Ariadne
Oil on canvas. 1636 - 1638
Quellinus, Erasmus
Bacchus and Ariadne
Oil on canvas. 1636 - 1638
Quellinus, Erasmus

La historia de Ariadna y el dios tiene dos momentos fundamentales: uno es el encuentro entre ellos en la isla de Naxos después de que ésta fuera abandonada allí por Teseo, tema que representó Tiziano para Alfonso I de Este y que ceunta Ovidio en las Metamorfosis en el libro VIII (174-182): "(...) El hijo de Egeo raptó a la hija de Minos, largó velas rumbo a Día, y en aquella playa abandonó, cruel,

Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo
Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo

While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac

The Triumph of Bacchus
Oil on canvas. 1636 - 1638
Vos, Cornelis de
The Triumph of Bacchus
Oil on canvas. 1636 - 1638
Vos, Cornelis de

El carro triunfal de Baco con todo su cortejo en relación con la hostilidad del rey Penteo aparece en libro III de las Metamorfosis de Ovidio (528 seq.): "(...) Ha llegado Líber; los campos resuenan con gritos de alborozo; corre el gentío; matronas y muchachas mezcladas con hombres, la chusma y los grandes señores acuden al nuevo culto. "¿Qué locura, hijos de la serpiente, prole de Marte, ha aturd

The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico
The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico

Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib

The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Dressed in yellow clothes that symbolize autumn, a young man sitting on a stone offers a cluster of black grapes to a lady. A boy is eager to reach the offered fruit, which is reserved for the adults. A woman stands next to them, holding a grape basket on her head, much like the classical allegory of the goddess Ceres with fruit on her head. Some grape harvesters are behind them, next to the grape

Satyr
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)
Satyr
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)

In classical mythology, Silenus was the guardian of forests. He was supposed to raise Bacchus when the latter was a child. Rubens depicts him in the customary manner: with goat ears and a scraggly beard, alluding to his condition as a wild being, and clothed only in buckskin. The mask on which he is leaning recalls his ties to the world of theater, as a Bacchic and festive deity. Rubens once again

Autumn
Oil on canvas. 1805 - 1806
Maella, Mariano Salvador
Autumn
Oil on canvas. 1805 - 1806
Maella, Mariano Salvador

Bacchus, the god of wine, is the figure traditionally associated with Autumn. Accompanied here by a satyr with a wineskin, he leans on a barrel and raises a goblet of wine in a pose inspired by the classical marble statue of the Resting Satyr -then in La Granja palace and now in the Prado- after an original by Praxiteles. In the background several companions carry a drunken Silenus.

The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventories show that the Alcázar possessed a large number of portraits of this kind by Carreño, among which are the two of the Monster, as well as others that have unfortunately disappeared. Th

Bacchanal
Oil on canvas. 1719
Houasse, Michel-Ange
Bacchanal
Oil on canvas. 1719
Houasse, Michel-Ange

Various personages, semi-nude or wearing tunics, dance, drink, eat grapes, play instruments and enjoy themselves in a garden around a bust of Bacchus. Various popular and classical buildings are visible in the background. This work shows all of the influences present in Houasse´s painting. The academicist tendency of the figures is mixed with hints of Poussin, Titian and Watteau. Moreover, some fa

Cadmus and Minerva
Oil on canvas. 1636 - 1638
Jordaens, Jacques
Cadmus and Minerva
Oil on canvas. 1636 - 1638
Jordaens, Jacques

La historia de Cadmo y la aparición de Minerva aparece en el libro III de las Metamorfosis (95-114): "(...) Mientras el vencedor calcula el tamaño del enemigo vencido, se oyó de repente una voz; no era posible saber de donde venía, pero se oyó: "¿Por qué miras, hijo de Agénor, la serpiente que has matado? También tú serás serpiente y te mirarán" (...)Deslizándose por el cielo aparece Palas y le or

Bacchanal
Oil on canvas. 1625 - 1626
Poussin, Nicolas
Bacchanal
Oil on canvas. 1625 - 1626
Poussin, Nicolas

This is a traditional scene from the iconography of Bacchus, the Roman god of wine. It depicts his meeting with Ariadne on the island of Naxos. The god rides a chariot pulled by lions, and helps his future wife, who was abandoned by Theseus, to climb aboard (Ovid, Metamorphoses, VIII). They are accompanied by Bacchus´s habitual retinue of bacchants, satyrs and menads, ledy by Silenus on a donkey.

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