DOI issue:
Nr. 4
DOI article:Murdzeńska, Maria: A mythological picture by Jacob Adriaensz Backer
DOI Page / Citation link: https://doi.org/10.11588/diglit.18818#0119
gestures. The artist introduced the view of the sea in the background and Theseus’ ship sailing
away thus unequivocally defining the place; the piece of jewellery Ariadnę is wearińg on her
head is certainly a crown — the gift of Yenus. The thyrsus, the symbol of power can be seen on
the ground next to Bacchus. It is difficult to tell from the engraving the dimensions of the original
composition. One can only suppose that it was fairly large with nearly life-size figures. The
elements of the composition and the form show a relationship to the works of the late forties
and fifties of the XVIIth century created under the influence of the Court and the Flemish
art. Ali this indicates that the prototype of the engraving was later than the picture in Wars aw.
Striking is the resemblance to such compositions as Granida and Daiphilo (private collection,
Detroit) and Yenus and Adonis (Cassel) representing the type of love pairs.25 The landscape plays
a minor role here, the most important element are the big figures of the heroes expressively
exchanging glances. The resemblance of the profiles of Bacchus and Granida and the breasts of
Ariadnę and Venus is striking.
Discussing the representations of the theme of Bacchus and Ariadnę in the Netherlands,
contemporary with the Warsaw picture one should mention the remarkable composition of Jacob
Jordaens dated about 1640 (Museum of Fine Arts, Boston,fig. 8).26 The construction of the work
25. K. Bauch, op. cit., no. 48. pl. 36, p. 38 and no. 55, pl. 36, p. 46.
26. Exhibited in Ottawa; M. Jaffe, Jacques Jordaens 1593 —1678, La Galerie Nationale du Canada/Ottawa, [Ottawa, 1968],
no. 97.
7. Micliiel Mosyn after Jacob A. Backer, Bacchus and Ariadnę, engraving, Warsaw, University
Printroom (phot. Warsaw Univ. Printroom)
105
away thus unequivocally defining the place; the piece of jewellery Ariadnę is wearińg on her
head is certainly a crown — the gift of Yenus. The thyrsus, the symbol of power can be seen on
the ground next to Bacchus. It is difficult to tell from the engraving the dimensions of the original
composition. One can only suppose that it was fairly large with nearly life-size figures. The
elements of the composition and the form show a relationship to the works of the late forties
and fifties of the XVIIth century created under the influence of the Court and the Flemish
art. Ali this indicates that the prototype of the engraving was later than the picture in Wars aw.
Striking is the resemblance to such compositions as Granida and Daiphilo (private collection,
Detroit) and Yenus and Adonis (Cassel) representing the type of love pairs.25 The landscape plays
a minor role here, the most important element are the big figures of the heroes expressively
exchanging glances. The resemblance of the profiles of Bacchus and Granida and the breasts of
Ariadnę and Venus is striking.
Discussing the representations of the theme of Bacchus and Ariadnę in the Netherlands,
contemporary with the Warsaw picture one should mention the remarkable composition of Jacob
Jordaens dated about 1640 (Museum of Fine Arts, Boston,fig. 8).26 The construction of the work
25. K. Bauch, op. cit., no. 48. pl. 36, p. 38 and no. 55, pl. 36, p. 46.
26. Exhibited in Ottawa; M. Jaffe, Jacques Jordaens 1593 —1678, La Galerie Nationale du Canada/Ottawa, [Ottawa, 1968],
no. 97.
7. Micliiel Mosyn after Jacob A. Backer, Bacchus and Ariadnę, engraving, Warsaw, University
Printroom (phot. Warsaw Univ. Printroom)
105