In this wild party, men and women dance around a term – a carved bust of a bearded and horned man. This is traditionally identified as Pan, god of woods and fields, flocks and herds, although the statue could also be Priapus, god of gardens and fertility, who wears floral garlands and exposes his genitalia.
The grapes and dancing suggest that this is a Bacchic festival, like those held during ancient Roman times to encourage a successful harvest. In art and literature, partygoers at these events enjoy excessive drinking and fulfil their sexual desires, suggested here by the discarded vessels and exposed skin. The nymphs or frolicking female followers of the god Bacchus are accompanied by a lustful satyr, with horns and hairy, goat-like legs.
The idealised bodies, rigid draperies and the careful arrangement of the dancers reflect Poussin’s study of ancient sculpture. Boldly coloured fabrics contrast with the dancers' skin tones and the woodland foliage.
Text extracted from the ‘Provenance’ section of the catalogue entry in Humphrey Wine, ‘National Gallery Catalogues: The Seventeenth Century French Paintings’, London 2001; for further information, see the full catalogue entry.
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters: In Which is Included a Short Biographical Notice of the Artists, with a Copious Description of Their Principal Pictures […], vol. 2, London 1830
C. Baker and T. Henry, The National Gallery: Complete Illustrated Catalogue, London 2001
This eighteenth-century French oak frame was made towards the end of Louis XIV’s reign, or possibly during the early Regency period. The corner cartouches feature fleur-de-lis and the centre cartouches are adorned with a stylised shell motif. Between the corner and centre cartouches there is decoration in the style of Jean Berain. A sanded flat leads to a French acanthus-leaf sight edge.
When the frame was acquired by the National Gallery in 1947, it underwent restoration and was entirely regilded.
In his correspondence, Poussin stated a preference for simple frames without gilding, so as not to clash with the colours of his paintings. He was probably inspired by the plain Salvator Rosa frames that he encountered when living in Italy. Poussin rejected the highly ornate carved frames produced in his native France, saying that they ‘confondent le jour’ (confuse the light). Despite this, ornate French Louis XIV and Louis XV frames remain popular for Poussin’s paintings.
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