Dimensions: image: 299 x 420 mm
Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: This is "Bacchanal before a Herm (2)" by Leon Kossoff. It's part of the Tate Collections and depicts a scene of revelry. Editor: Wow, it's like a barely-there dream! A flurry of bodies and lines, creating a sense of frantic energy. Is this an etching? Curator: Yes, it’s an etching, which gives it that delicate, almost skeletal feel. Kossoff, although better known as a painter, returned often to printmaking. It’s interesting to see him engage with classical themes. Editor: Classical, but gritty. I get the sense that Kossoff is less interested in the ideal and more in the raw, uninhibited energy of the moment. It's not pretty, but intensely alive. Curator: Absolutely, Kossoff's figures often have a raw vulnerability, even when they're supposed to be celebrating. The herm, a classical sculpture, suggests a clash between order and chaos. Editor: It really does make you feel like you’re eavesdropping on something wild, something dangerous, doesn’t it? It makes you want to join in, or run away, hard to say which!
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http://www.tate.org.uk/art/artworks/kossoff-bacchanal-before-a-herm-2-p11688
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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 Bacchanal Before a Herm, 1632-3 (National Gallery, London) by Nicolas Poussin (1594-1665). Tate owns two prints by Kossoff after this Poussin painting (Tate P11687-8). The artist’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 an artist’s proof.