Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Leon Kossoff's "The Triumph of Pan (from a Poussin Drawing) (2)," held at the Tate. It's a flurry of lines, figures almost lost in the chaos. What do you make of this interpretation of Poussin? Curator: It’s fascinating how Kossoff engages with art history. He’s not just copying Poussin, he's re-interpreting it through a modern lens, reflecting post-war anxieties and a breakdown of classical ideals. How does this "triumph" resonate with you given that context? Editor: It feels like a celebration, but also like something is falling apart, I guess. I like your take on it. Curator: The sketchiness mirrors a society grappling with its identity. Thinking about the public role of art, Kossoff challenges us to reconsider our relationship with the past. Quite impactful.
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http://www.tate.org.uk/art/artworks/kossoff-the-triumph-of-pan-from-a-poussin-drawing-2-p11735
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This print is one of many etchings executed by Leon Kossoff in response to, and literally in the presence of, paintings and drawings by old masters; in this case a preparatory drawing for The Triumph of Pan, 1635-6, (National Gallery, London) by Nicolas Poussin (1594-1665). Tate owns two prints after this Poussin drawing (Tate P11734-5) as well as four prints after the finished Poussin painting (Tate P11730-3). Kossoff’s ability to explore a number of separate responses while making drawings and prints from a single subject is illustrated in these etchings. Tate owns the only artist’s proof of this version.
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