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Lot Essay
A study for the lower part of the Bacchanale la joueuse de guitare in the Louvre dated by Pierre Rosenberg and Louis-Antoine Prat to 1625-6, op. cit., p. 48, fig. 26b. The present drawing was first published in 1994, but was known through an old copy in the Fogg Art Museum, Cambridge, P. Rosenberg and L.-A. Prat, op. cit., R224. Rosenberg and Prat compare the style of the drawing to that of the Marino group (op. cit., nos. 2-17) and the drawing for The death of Germanicus executed in 1627, op. cit., no. 27.
The first mention of the picture is in October 1665 when its owner, the Duc de Richelieu, showed his painting collection to Bernini and Poussin's patron Chantelou. Two months later Richelieu lost 25 pictures, including his thirteen Poussins, to King Louis XIV in a bet on a tennis match. The King still gave Richelieu 50,000 livres for his pictures.
Pierre Rosenberg and other authors have pointed out the influence of Titian's Les Andriens on Poussin's composition. The Titian was in the Ludovisi Collection in Rome in the early 17th Century, P. Rosenberg, op. cit., p. 152, fig. 16b. The subject was described by Philostrates of Lemnos in his Magines, written in the 3rd Century. Poussin may also have looked at the prints in the 1614 French edition by Blaise de Vigenire, P. Rosenberg, op. cit., fig. 16c.
The first mention of the picture is in October 1665 when its owner, the Duc de Richelieu, showed his painting collection to Bernini and Poussin's patron Chantelou. Two months later Richelieu lost 25 pictures, including his thirteen Poussins, to King Louis XIV in a bet on a tennis match. The King still gave Richelieu 50,000 livres for his pictures.
Pierre Rosenberg and other authors have pointed out the influence of Titian's Les Andriens on Poussin's composition. The Titian was in the Ludovisi Collection in Rome in the early 17th Century, P. Rosenberg, op. cit., p. 152, fig. 16b. The subject was described by Philostrates of Lemnos in his Magines, written in the 3rd Century. Poussin may also have looked at the prints in the 1614 French edition by Blaise de Vigenire, P. Rosenberg, op. cit., fig. 16c.