Bacchic Concert by Kim Acosta

Bacchic Concert 1625-1630
By Pietro Paolini 1603-1681



Visual/Formal Analysis of Bacchic Concert



Introduction:
I was attracted to the illumination of this very large 46”x69” oil on canvas named “Bacchic Concert.” It was painted by Pietro Paolini during the 17th century Baroque period. This artwork is part of the Karl & Esther Hoblitzelle collection at the Dallas Museum of Art.
I couldn’t help but notice the half-dressed male figure that was dressed like Dionysus, the greek mythological god of wine and merriment. Was he someone pretending to be Dionysus? The beautiful female sitting in the middle with the instrument, why is she looking at the painter? And, why is there a female to the left with her back to the artist? I did not recognize the name of the artist but realized his work was similar to some of the ones we had studied. I was amused by the painting and chose it as my project. Later, I discovered Paolini had mannered Caravaggio.

Art Elements

Line:
Just about every form, object, and shadow has curved lines. From the large instruments, the spine of the deity, shoulders of the females, fabrics, faces, and shadows in background, all represented strong curves. Notice the psychological line of gaze from the main centered female. Invisible horizontal lines are implied by the deity’s flute towards the main female, as well as by the young male at her left shoulder. These two invisible lines seem to interpret a way of getting her attention or to encourage her. The tall male figure standing in the back appears to be gazing out on an audience, while each of the remaining two females demonstrate an invisible diagonal gaze towards their papers. This artist used many invisible lines that created a sense of motion.

Shape:
The artist filled the picture with organic volumetric shapes. The curved muscular shape of the flute player represents both “force” and “whimsical” contour. The main female has a stoic sitting pose with only movement to the hands. The shape of the neck and back of the woman at the far left is well noted. All of the shapes in the picture are well proportioned and balanced. Many angular shapes are represented in a scene of fluid movement.

Space:
Even though this is a flat two dimensional oil painting, the life-size figures project out as if they are in the room with you. The only negative space is the small amount of background that assists with depth.

Light:
It was noted during the 17th century, Romans had actors and musicians perform at weddings and other festivities. For that reason, I believe the picture takes place in a well lit environment either by many candles or by natural light from the left of the picture. The background is very dark with what appears to be two arches, the white curve and the vague curved lightness in back of the far left female. The flute player is closest to the source of light due to the strong illumination on his back. The painter darkened (shadowed) the front of the flute player’s face, skin, and fabric to show his back is turned to the light. To add value, his shadow is projected onto the main female’s right hand and lower part of her instrument. She is illuminated as well but just a shade darker than the flute player. The people in the background are more shadowed with much less light to help create more depth. Paolini practiced atmospheric perspective, the same as Caravaggio.

Color:
Once again, Paolini did as Caravaggio and used the main female’s warm rich red skirt at the front. A contrast of the red skirt and the flute player’s violet-blue fabric is well placed in the center, adding a “festive” appearance. The flute player’s white skin and her white blouse contrast dramatically against the dark brown’s of the background. I realized the men in the picture performed manual labor due to their “farmer tans”. At the back of the neck of the flute player and his arms, are noted tan lines. Also, the lighter colored foreheads of the other two men with their sun-burnt noses are observed as well.

Texture:
Smooth shallow brush strokes were noted throughout the painting. It is implied the skin of the flute player is soft due to the “whiteness”, yet hard due to the highlighted muscular features. Due to the gray shading on the red skirt and violet-blue cloth, you can almost feel the richness of the fabric.

Art Principles

Balance:
Symmetry is present as well as radial balance. All of the human forms are equal in size and due to the depth perceived, the picture comes out to you.

Emphasis:
At first my eye was drawn to the illumination of the flute player’s white skin, and then I seen the main female’s red skirt, as well as her gaze. I would consider that to be a triangle of interest. With the exception of the woman with her back to the artist, everyone appears to be involved musically. However, the women in the center is with a flat expression, making you wonder what she is thinking.

Rhythm:
Music is heard while looking at this painting. Mouths are opened in a singing gesture, instruments are being played, and a jolliness is projected from the men as well as the women in the green dress. There is a pattern of noise and energy.

Media and Technique

Painting:
Oil paintings were shiny and slow to dry. The oil could be easily be manipulated, easy to contour, and simple to create texture with. These paintings will fade if not protected from light.

-Kim

(please see Carravagio Discussion Group for posting including pictures. thank you Mitsi)