- 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
View this object's location on our interactive map
- 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
- 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, 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.
Elizabeth Cropper and Charles Dempsey, Nicolas Poussin: friendship and the love of painting, Princeton University Press (Princeton, NJ, 1996), colorplate X
James Cuno, Harvard's Art Museums: 100 Years of Collecting, Harvard University Art Museums/Harry N. Abrams, Inc. (Cambridge, MA, 1996), pp. 172-3
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
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
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
Philip Hardie, ed., The Cambridge Companion to Ovid, Cambridge University Press (U.K.) (Cambridge, UK, 2002), pp. 360, 363, fig. 17, repr.
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
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