Late 19th century, Bacchic scene

Late 19th century

Bacchic scene

Oil on canvas, 168 x 213 cm

The work, a generously sized oil on canvas, dates back to the end of the 19th century and has a Bacchic scene as its subject. 

The Bacchic procession was formed during the Bacchanal, a Roman festival (although of Greek origin) which was celebrated with a propitiatory background in the period of sowing and harvesting the crops, then over time becoming an orgiastic festival practiced at the time of the grape harvest. 

In a lush wooded landscape, from which ruins of ancient classical architecture emerge in the background, the god Bacchus triumphs centrally in all his immature sensual virility, recognizable by the garland of vine leaves that surrounds his head and his staff, as well as by his skin. that covers his limbs. The look of the face, which is characterized by the strong expressiveness of the features and by an attentive realism, leads the spectator to the other protagonist of the scene, a female figure wrapped in a light tunic and a draped blue cloak, in which she could be recognized the figure of Ariadne. All around there is a particularly crowded scene of characters intent on carrying out various actions, from small putti with cups and garlands of flowers, to bacchantes or nymphs superbly swathed in large colored cloaks.

The procession surrounding the god is inspired by the now well-established tradition of the representation of the Triumphs according to ancient custom: each god of mythology had a personal chariot pulled by a pair of totem animals, two cheetahs in the case of Bacchus, according to the description given by Catullus in his Carmina docta.

From a stylistic and formal point of view, a rapid, elusive and material brushstroke prevails, capable of giving the canvas that sense of chaotic dynamism that pervades the Bacchic scene; The color palette also contributes to this effect, with particularly iridescent shades and characterized by a strong chiaroscuro contrast. 

The mythological theme linked to the depiction of fauns, bacchantes and shepherdesses occupied an important place in European art, especially starting from the 18th century: the loves of the gods ceased, in fact, to be considered a subject mainly associated with the decoration of furniture and villa frescoes, themselves becoming the most popular subject for gallery paintings, particularly in the poems, narrative paintings based on Ovid's Metamorphoses.

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