(San Gimignano 1619–1703)
The Marriage of Bacchus and Ariadne in the presence of Venus,
oil on canvas, 180 x 230 cm, framed

Provenance:
sale, Finarte, Rome, 29 March 1983, lot 134;
Private collection, Vicenza

Literature:
F. M. Ferro, Nuvolone: una famiglia di pittori nella Milano del ‘600, Soncino 2003, pp. 263–264, g 112, p. 463, fig. 145b

The present painting is registered in the Fototeca Zeri (no. 60024) as Carlo Francesco Nuvolone.

We are grateful to Filippo Ferro for reconfirming the attribution after examining the present painting in the original.

The present painting by Giuseppe Nuvolone freely interprets a composition drawn from Jacopo Tintoretto: one of the four canvases executed in 1567 and 1577 for the Atrio Quadrato of Palazzo Ducale, and subsequently moved in 1716 to the Anticollegio. Compared to Tintoretto’s model described by Claudio Ridolfi (Le Maraviglie dell’arte: overo le vite de gl’illustri pittori veneti, e dello stato..., Venezia 1648), Giuseppe Nuvolone reveals himself to be entirely faithful to the myth: he represents Ariadne abandoned by Theseus on the Island of Naxos, a departing ship is seen in the distance, accompanied by Bacchus (Dionysus) who was to marry her, while Venus /(Aphrodite) is shown flying in to bestow a wedding tiara of stars upon her, as desired by the Gods. Other than introducing a cupid to accompany Venus, Giuseppe modified the figure of Ariadne to interpret her abandonment according to the iconography of Melancholy and he redresses the female nudes in precious silken robes of iridescent pinks, pale blues and tones of deep violet, while also drawing attention to their elegant jewelry. The mythical scene, immersed in the dreamy landscape, is imbued with a palpable languor: Ariadne’s lovesickness finds its echo and balance in the intense passion of the triumphant Bacchus, dressed in vine, while Venus’ appearance is like a choreographed coup de theater drawn from the most cherished melodramas of the era.

The present painting reveals the artist in full maturity: in date, it is close to the great Plague Altarpiece made for Brescia Cathedral (1679–1680), and corresponds to the time when the erudite Fortunato Vinaccesi of Brescia was broadening his interests in classical antiquity and myth.

We are grateful to Filippo Ferro for his help in cataloguing the present painting.