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Here we see a group of followers of Bacchus enjoying themselves, drinking from the wine of the new river--a gift from Bacchus. Much like other pieces of his, Titian creates a sense of depth through the landscape; the trees and the green of the grass in the foreground recede into the hill on the right, creating a bright contrast against the darker, more calm hues of blue in the sky. Supplementing the receding diagonal created by the landscape, the composition also creates other diagonal lines through the movement of the figures in the foreground, as well as the highlighting of the sky and the female figure in the bottom right. Figures reaching for wine or leaning in a certain direction indicate a dynamic aspect within the composition. For example, the female figure in the bottom right lays on her back, leaning her head in the direction of the general diagonal. These diagonals bring attention to the maenad on the right, dressed in a bright white in contrast to the dull brown and black of the other figures in the foreground. We also see the use of aquamarine--a rare pigment which displays immense wealth--in the sea and the sky.
Female worshippers of Bacchus, maenads were known for their extreme strength and immortality when under the influence. When considering the use of aquamarine, as well as the context of the power of the commissioner, Alfonso d’Este, the inclusion of this figure becomes a bit clearer. Including such a figure in a piece that would have been found in the Camerini d’Alabastro¹ not only showed the wealth of the Duke, but also portrayed a statement which implies immortality of lineage, power, and authority in the court of Ferrara. In addition, Titian also displayed Alfonso’s proclivity for music, something seen in other works that were part of the same set such as The Feast of the Gods.² In this case, Titian includes a sheet of paper with musical notes at the feet of the two women and in front of the urinating infant.
In addition to making a statement for the commissioner, Titian also displayed a novel expression of art, something characteristic of his time period. Titian brought the drunkenness of the figures and applied it to the art piece in such a manner that the viewer may feel included. For example, the man holding the pitcher of wine holds the pitcher at a slight angle, probably due to inebriation. However, the wine stays level with the piece, making viewers question whether the landscape is tilted or the piece itself. As seen in that time period, other artists became aware of Titian’s new expressions in this genre of art, giving rise to images that have a striking resemblance to this piece such as Nicolas Poussin’s depiction of the same subject matter.³
- C Hope, “Camerini d’Alabastro of Alfonso d’Este.” Burlington Magazine 113 (November): 641, https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site
- Tim Shephard, "Alfonso and the Eloquence of Bacchus." In Echoing Helicon: Music, Art and Identity in the Este Studio (New York: Oxford University Press, 2014)
- Richard T. Neer, “Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images.” Word & Image 18, no. 3 (July 2002): 267–81, https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site
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- Journal Article 1: Neer, Richard T. “Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images.” Word & Image 18, no. 3 (July 2002): 267–81. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site.
- Journal Article 2: Hope, C. 1971. “Camerini d’Alabastro of Alfonso d’Este.” Burlington Magazine 113 (November): 641. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site.
- Book: Shephard, Tim. "Alfonso and the Eloquence of Bacchus." In Echoing Helicon: Music, Art and Identity in the Este Studioli, 1440-1530. New York: Oxford University Press, 2014. Oxford Scholarship Online, 2014. doi: 10.1093/acprof:oso/9780199936137.003.0005.
- Image Source: Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607.
- Museum: “The Andrians - The Collection.” The Collection - Museo Nacional del Prado, 2019. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52.
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Image Source: Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607.