- Identification and Creation
- Object Number
Nicolas Poussin, French (Les Andelys, France 1594 - 1665 Rome, Italy)
- The Infant Bacchus Entrusted to the Nymphs of Nysa; The Death of Echo and Narcissus
- Work Type
Level 2, Room 2400, European Art, 17th century, Rome and Its Influence in the Seventeenth Century
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- Physical Descriptions
- Oil on canvas
- 122.6 x 180.5 cm (48 1/4 x 71 1/16 in.)
framed: 139.5 x 198 x 9.2 cm (54 15/16 x 77 15/16 x 3 5/8 in.)
- Inscriptions and Marks
- exhibition label: on back of frame, black ink on paper: [illegible, covered by metal bracket]
- exhibition label: on back of frame, black ink on blue and white paper label:: [New York World's Fair, catalogue no. 55]
- inscription: on back of frame, in white chalk:: 6[38?]
- Jacques Stella; Antoine Bouzzonet-Stella; Jean Neyret de la Ravoye (as of 1701); possibly Paul and André Vérani, Varennes (as of 1713); Regent (as of 1724); Louis, duc d'Orleans, sold; to Walkuers, sold; to Laborde of Méréville; Bryan; Sébastien Érard; Mrs. Samuel Sachs, gift; to Fogg Art Museum, 1942, inv. no. 1942.167
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Gift of Mrs. Samuel Sachs in memory of her husband, Samuel Sachs
- Accession Year
- Object Number
- European and American Art
Label Text: 32Q: 2400 French/Italian/Spanish , written 2014
Poussin was a French expatriate resident in Rome for most of his career. His insistence on the primacy of form and theme over color and painterly effects made him the preeminent exponent of a severe, stoic classicism. His ideas and methods were so admired that they became the model for European art academies. This painting was commissioned in 1657 by his friend and fellow painter Jacques Stella, whose Liberality of Titus also hangs in this gallery. Poussin’s picture elaborates themes drawn from classical sources, such as Ovid’s Metamorphoses, Euripides’s Bacchae, Philostratus’s Imagines, and later scholarly commentaries to produce a dense allegory of human destiny. The main theme visualizes the birth and secret nurturing of Bacchus by the nymphs of Nysa. Fertility (Bacchus) and sterility (Narcissus and Echo) are represented through a visual meditation on the character of a specific natural and sacred site — Nysa — in the ancient Greek city-state of Thebes.
- Publication History
A Loan Exhibition of French Painting of the Time of Louis XIIIth and Louis XIVth, exh. cat., Wildenstein & Company (New York, 1946), cat. no. 42, pp. 66-67, repr.
Agnes Mongan, Memorial Exhibition: Works of Art from the Collection of Paul J. Sachs [1878-1965] : given and bequeathed to the Fogg Art Museum, Harvard University, Cambridge, Massachusetts, exh. cat., Harvard University (Cambridge, MA, 1965), p. 10, cat. no. 92, repr.
Eunice Williams, Gods & Heroes: Baroque Images of Antiquity, Wildenstein Gallery, New York (New York, NY, 1968), no. 32, repr.
Caroline Houser, Dionysos and His Circle: Ancient Through Modern, exh. cat., Fogg Art Museum (Cambridge, MA, 1979), p. 68, no. 47
Kristin A. Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), no. 195, p. 171, repr.
Hilliard T. Goldfarb, From Fontainebleau to the Louvre: French Drawing from the Seventeenth Century, exh. cat., Cleveland Museum of Art/Indiana University Press (Cleveland, 1989), pp. 58-60, repr. p. 60 as fig. 23a
Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), p. 53, color plate; pp. 125, 207, repr. b/w cat. no. 218
Pierre Rosenberg and Louis-Antoine Prat, Nicolas Poussin 1594-1665: catalogue raisonné des dessins, Leonardo (Milan, Italy, 1994), vol. I, under cat. no. 364, p. 702, fig. 364b, repr.
James Cuno, Harvard's Art Museums: 100 Years of Collecting, Harvard University Art Museums/Harry N. Abrams, Inc. (Cambridge, MA, 1996), pp. 172-3
Elizabeth Cropper and Charles Dempsey, Nicolas Poussin: friendship and the love of painting, Princeton University Press (Princeton, NJ, 1996), colorplate X
H. W. Janson and Anthony F. Janson, History of Art for Young People, Harry N. Abrams, Inc. (New York, NY, 1997), p. 379, fig. 320
Thomas Bulfinch, The Illustrated Age of Fable: Myths of Greece and Rome, Frances Lincoln Limited (London, England, 1998), p. 119, repr. in color
Dr. Nigel Saint, Marguerite Yourcenar: Reading the Visual, Legenda (Oxford, England, 2000), pp. 28-30, repr. in b/w as fig. 4
Philip Hardie, ed., The Cambridge Companion to Ovid, Cambridge University Press (U.K.) (Cambridge, UK, 2002), pp. 360, 363, fig. 17, repr.
Philip Fisher, "Darkness and the Demand for Time in Art", Art History, Aesthetics, Visual Studies, Sterling and Francine Clark Art Institute (Williamstown, MA, 2002), pp. 87-104, pp. 100-101, repr. in b/w as fig. 1
Chikashi Kitazaki, ed., Between Reality and Dreams: Nineteenth Century British and French Art from the Winthrop Collection of the Fogg Art Museum, exh. cat., National Museum of Western Art (Ueno, Japan, 2002), p. 14, repr. as fig. 6
Christopher Allen, French Painting in the Golden Age, Thames & Hudson (New York NY, 2003), repr. p. 75 as fig. 56
Stephan Wolohojian, ed., Harvard Art Museum/ Handbook, Harvard Art Museum (Cambridge, MA, 2008), p. 101, repr.
Pierre Rosenberg and Keith Christiansen, ed., Poussin and Nature: Arcadian Visions, exh. cat., Metropolitan Museum of Art / Yale University Press (New York, 2008), cat. no. 58, pp. 270-75, repr.
John Varriano, Wine: A Cultural History, Reaktion Books (London, 2010), pp.162-165, repr. p. 163 as fig. 75
Jacques Thuillier, Nicolas Poussin : Les écrits de Jacques Thuillier, ed. Serge Lemoine, Editions FATON (2015), p. 303-304, p. 564, cat. no. 226, repr. p. 303 + 504
Nicolas Milovanovic and Mickäel Szanto, ed., Poussin et Dieu, exh. cat., Hazan (Paris, 2015), pp. 143-44, figs. 102, 109
Paul Barolsky, "Ovid's Web", Arion, Journal of the Humanities & the Classics, The Trustees of Boston University (Boston, Fall 2003), p. 63, repr. in color as fig.3; text p. 52
Richard Neer, "Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images", Word & Image (July 2002-September 2002), vol. 18, no. 3, pp. 267-281, pp. 267-268, repr. as fig. 1
Sydney J. Freedberg, "Lorenzo Lotto to Nicolas Poussin", Apollo (May 1978), vol. 107, no. 195, pp. 389-397, p. 397, repr. p. 397 as fig. 17
Carol L. Kaplan, "En quête de l'Arcadie: Gide lecteur de Poussin", Bulletin des Amis d'André Gide (October 1997), vol. XXV, no. 116, pp. 425-438, pp. 426-427, repr. in b/w
- Exhibition History
A Loan Exhibition of French Painting of the Time of Louis XIIIth and Louis XIVth, Wildenstein Gallery, New York, 05/09/1946 - 06/01/1946
Memorial Exhibition: Works of Art from the Collection of Paul J. Sachs [1878-1965] Given and Bequeathed to the Fogg Art Museum Harvard University Cambridge, Massachusetts, Fogg Art Museum, Cambridge, 11/15/1965 - 01/15/1966; Museum of Modern Art, New York, New York, 12/19/1966 - 02/26/1967
Dionysos and His Circle: Ancient through Modern, Fogg Art Museum, Cambridge, 12/10/1979 - 02/10/1980
Poussin and Nature: Arcadian Visions, The Metropolitan Museum of Art, New York, 02/12/2008 - 05/11/2008
Re-View: S424-426 Western Art from 1560 to 1900, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 08/16/2008 - 06/18/2011
- Subjects and Contexts
Artstor Digital Library
Google Art Project
- Related Works
- Verification Level
3 - Good. Object is well described and information is vetted