Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Leon Kossoff created this etching, "The Triumph of Pan (3)." The piece is held in the Tate Collections. Editor: It has a real sense of urgency to it, a frenzied celebration caught in fleeting lines. Curator: Kossoff's process involved reworking the plate, layering marks and lines to create this dense visual texture, a kind of excavation of the image. Editor: It feels spontaneous, almost primal, like a half-remembered dream of a bacchanal. I'm intrigued by the way he merges figures with the landscape. Curator: Considering Kossoff's focus on urban landscapes and portraiture, this classical subject suggests an engagement with art history, filtered through his unique expressive mark-making. Editor: Absolutely. It’s an unexpected dance between tradition and raw emotion. It makes me wonder what Kossoff found so compelling about Pan's triumph.
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http://www.tate.org.uk/art/artworks/kossoff-the-triumph-of-pan-3-p11732
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This print is one of many etchings executed by Leon Kossoff in response to, and literally in the presence of, oil paintings by old masters; in this case The Triumph of Pan, 1635-6, by Nicolas Poussin (1594-1665), owned by the National Gallery, London. Tate owns four prints by Kossoff after this Poussin painting (Tate P11730-3) as well as two prints after a preparatory drawing by Poussin for the same painting (Tate P11734-5). Kossoff’s ability to explore a number of separate responses while making drawings and prints from a single subject is illustrated in these etchings. This version was printed in an edition of twenty with ten artist’s proofs; Tate owns number three of the artist’s proofs.
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