Italian school; 17th century.

Italian school; XVII century.
"Bacchanal".
Oil on canvas.
Presents faults and wear.
Measurements: 44 x 49 cm.
The Bacchic theme is a constant in the history of western art since the Ancient Greece, when this type of scenes used to decorate the vessels used in the banquets. The Romans also represented it frequently, in mosaics and other types of artistic manifestations, and although during the Middle Ages it was relegated in favor of the Christian theme, it was taken up again with force in the Renaissance, with important examples such as Titian's bacchanals. The works of the Venetian marked a significant change with respect to the representation of Bacchus. Titian places his bacchanals in an idyllic Arcadia, and turns them into celebrations of sensuality inspired by Roman literature. Already in the Baroque period, Caravaggio took up this sensual interpretation of Bacchus, which Rubens would take to its extreme by combining exuberance and decadence. By then, the Bacchic is already one of the favorite themes for painters not only of mythological works, but also for costumbrists, who often gave a popular air to their Bacchic scenes, with illustrious examples such as "The Drunkards" by Velázquez.

In this work the author demonstrates a composition that differs from the aforementioned classicism, since the author introduces a vaporous atmosphere close to those developed during the 18th century. Finally, the figures are also heirs of the classic Italian Baroque landscape, integrated into the landscape, without detracting from the representation of nature. The academicism is a direct inheritance of classicism, and hence the predilection for themes such as the one presented here, taken from mythology, although captured from a sensual and decorative point of view far from the solemnity of ancient classical art. Hence also the way of approaching the subject, recreating the mythological figures in a totally new way. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.