Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANNUAL REPORT - A 2006. ÉV - MÁRTON OROSZ: Poussin: Bacchanal: Enchantment and Pleasures—Evoking a Bygone Golden Age

18 NICOLAS POUSSIN, LITTLE BACCHANAL PARIS, LOUVRE mythological scene in a mannerist style. A transitory stage between Mannerism and Baroque are represented by such paintings as the Diana and Actaeon by Giuseppe Cesari, who worked chiefly in the Vatican, and a work by Cornelis Cornelis of Haarlem, depicting the Ovidian Golden Age in the form of a merrymaking company, and not lacking in moralizing tones. In the strict sense of bacchanal illustrations only the works of Giulio Carponi and Daniel Vertangen are to be considered in this category. Carpioni's art dissolves the academic rigor of the seicento by his virtuoso representations and creative concetto, while Vertangen, who was born in The Hague, painted in a Romanist style, minutely elaborating each detail of his compositions. The works of Hendrik van Limborch and Hieronymus van der Mij attested to the Antiquityreception of Dutch masters around 1700 and recalled the revaluation of mythological idylls seen through the lens of bourgeois realism. The immediate impact of Poussin can be observed on the Bacchus and Ceres painting of the lyric Sébastien Bourdon, and on Michel Dorigny's friezelike Parnassus. Dorigny was a follower of the same Simon Vouet, in whose workshop another exhibited painting was made, the Venus Sleeping on the Clouds, which evoked the serene style and splendid light colours of the period of Louis XIII. The beauty of his sleeping female figure, characterized by his light brush handling, soft colours and gentle silhouettes, contrasts starkly with the fiery colours and decorative harshness in Sebastiano Ricci's Venus and the Satyr. In this latter work the satyr who yearned for the sleeping goddess of love, is represented as a beastly old