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Narcisse Virgile DIAZ DE LA PEÑA (1807–1876)
The Bacchantes
…
See original version (French)
179
-
Narcisse Virgile DIAZ DE LA PEÑA (1807–1876)
The Bacchantes
…
See original version (French)
Estimate €6,000 - €8,000
Voluntary lot
Description
Narcisse Virgile DIAZ DE LA PEÑA (1807–1876)
The Bacchantes
Oil on canvas
82 x 115 cm
With frame (damaged): 111 x 145 cm
(re-stretched)
This work will be included in the supplement to the Catalogue Raisonné of the painted works of N. V. Diaz de la Peña, currently being prepared by Rolande Miquel and Michael T. Klaa.
Expert’s note, Michael T. Klaa:
Throughout the 19th century, the Bacchantes triumphed in opera and theatre, inspiring writers, sculptors and painters.
‘In sumptuous mansions, their image smiles down from painted ceilings, while wreaths of vine leaves shade their beautiful foreheads …’ (Preface to *Modèles d’Artistes*, Ferdinand Bac).
Diaz created large-scale murals to adorn the homes of wealthy clients, including those of Salomon and James de Rothschild, owner of the prestigious Château Lafite estate.
The frame bears the iron-stamped mark ‘Momper à Paris’. The latter, based at 11 Rue des Marais St. Germain (now Rue Visconti, Paris 6th arrondissement), was a ‘restorer and re-liner for the imperial museums’, which suggests that he was responsible for removing this work and re-lining it.
The pyramidal composition is reminiscent of the painting *Dolce Farniente*, which was saved from the fire at the Tuileries Palace.
Diaz chose to depict the end of a bacchanal. This work exudes a sensuality that is certainly exuberant but, to use the words of P. and R. Miquel, elegant (Diaz monograph, p. 65).
In a fantastical setting, the Bacchantes have gathered against a tree with an imposing trunk; in doing so, Diaz reminds us that it was in the form of a tree that the god was previously worshipped. He was then the god of fertility and vegetation.
A tympana, a Basque drum resting on the ground, indicates that the music has fallen silent (despite its name, it has no connection with the Basque Country).
The dancing, the wine, the mania – a sensual trance induced by the god – have led to several Bacchantes/Maenads drifting off to sleep.
One of them lies on the ground strewn with bunches of grapes (foreground on the left). Under her arm lies a thyrsus. This long staff, often topped with a pine cone, is the attribute of the god and the Bacchantes/Maenads. It can cause honey or water to gush forth when struck against the ground. It contributes to the soundscape with the sound of it being pounded against the rocks. It is also a formidable weapon.
Another figure, her body arched and her genitals exposed (the second figure from the right), holds an offering ewer. To her left, her counterpart, at the height of her mania, is on the verge of fainting. On the right, a winged putto stands slightly set back from the group. According to the ancient pagan Dionysian cults, the putti inhabited the paradise of Dionysus.
oil on canvas, 32.2 x 45.2 in, with frame: 43.7 x 57 in
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
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