Bacchus and Ariadne

Depicted here we see the Roman god of wine and fertility, Bacchus, jump from his chariot to meet with the Cretan princess, Ariadne, with whom he has fallen in love. Titian highlights these two figures, using a lighter shade for their skin compared with the rest of the figures in the image. We also see great articulation in the clothing of the figures. Directing the eyes of the viewer to the main subject matter, there are multiple diagonal lines pointing towards Ariadne, who looks out onto the sea as her lover--Theseus--leaves her stranded and sails away, an interpretation that many have come to agree with after Venetian historian Carlo Ridolfi suggested it in 1648 [1]. The faces, as well as the body positions, point downward and to the left. Even Bacchus, with his rich maroon scarf, looks down upon Ariadne with desire. In addition to directing attention, this line also separates major elements of the composition. In terms of color, both in the foreground and the background, this diagonal line separates the rustic browns, greens, and gold from the rich blues, whites, and maroon. It is also important to note the use of a rare and highly expensive color: ultramarine blue. The use of such a color speaks not only to the importance of the painting but also to the importance of the commissioner--Alfonso d’Este, Duke of Ferrara. In addition to color, the line also separates the geography of the image. Once again, the blues of the sky and the sea are separated from the greenery of the mainland.
     Intended for decor in the castle of Alfonso d’Este, this painting was a part of a series of paintings that depicted scenes from the tales of Ovid and other classical subject matters [2]. As a result, many interpretations of this one art piece can be generated. Contrary to the belief that this is the first meeting between Bacchus and Ariadne, for example, there have been interpretations that argue that this is the last meeting between the two, with evidence drawn from Ovid’s Fasti [3]. Often, the preferences and attributes of the donor were embedded into an art piece in Renaissance Venice, as many other artists at the time did. Titian is no exception, although he worked primarily with royalty. As mentioned before, the use of expensive and rare pigment--the ultramarine blue--not only shows Titian’s ability but also shows the power and wealth of his commissioner, Alfonso d’Este. In addition, the presence of exotic animals speaks to the wealth of Alfonso d’Este: according to records, d’Este had a hobby of ‘collecting’ exotic pets for his court. Thus, through the stylistic and compositional elements, Titian is able to showcase the wealth of Alfonso d’Este, the Duke of Ferrara.

[1] Graves H. Thompson, "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. http://www.jstor.org/stable/3292884.

[2] Cecil Gould, "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242.

[3] Angus Easson, "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625.

Titian

I) Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527.

II) Journal Article 1: Gould, Cecil. "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242.

III) Journal Article 2: Easson, Angus. "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625.

IV) Journal Article 3: Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. http://www.jstor.org/stable/3292884.

V) Book: Phillips, Claude. “Bacchus and Ariadne.” Essay. In The Earlier Work of Titian, edited by Jonathan Ingram, Wilelmina Mallière, and Project Gutenberg Online Distributed Proofreading Team. Seeley & Co., Ltd., 1897. https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne.

VI) Museum: Titian. “Titian: Bacchus and Ariadne: NG35: National Gallery, London,” 2020. https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne.

Court of Ferrara

Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527.

1520-1523

Muhib Methani

©The National Gallery, London

Oil on canvas, 176.5 x 191 cm

Painting

The National Gallery, London