The Triumph of Pan (1) by Leon Kossoff

The Triumph of Pan (1) 1998

0:00
0:00

Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: This etching is Leon Kossoff’s "The Triumph of Pan (1)." It's currently part of the Tate Collections. Editor: Oh, my, it's chaos! A whirlwind of figures seemingly lost in a dense thicket. There's a sense of frenzied energy here. Curator: The title alludes to the Greek god Pan, associated with nature, wildness, and, shall we say, untamed revelry. Kossoff often explored classical themes through his own distinctive lens. Editor: It feels almost primal, doesn't it? Like a raw, unfiltered expression of Dionysian ecstasy. I see bodies intertwined, almost struggling, amidst the scratchy, urgent lines. Curator: Kossoff was deeply influenced by the socio-political climate of his time, and this work, though drawing from myth, could be seen as a commentary on societal unrest. He captures it well, through the wild and untamed feel of this image. Editor: Absolutely. It's a powerful reminder of the enduring human fascination with the wilder aspects of our nature. I'm not sure I would have gotten that from the image without you. Curator: My pleasure. It’s interesting how a classical theme can evoke such a contemporary rawness.

Show more

Comments

tate's Profile Picture
tate 10 months ago

http://www.tate.org.uk/art/artworks/kossoff-the-triumph-of-pan-1-p11730

Join the conversation

Join millions of artists and users on Artera today and experience the ultimate creative platform.

tate's Profile Picture
tate 10 months ago

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.