The attribution of the painting in question was confirmed by professor riccardo lattuada after examining it in person. This hitherto unpublished canvas is closely related to a canvas by nicolò de simone on the same theme, already in a private genoese collection in genoa (100 x 123 cm; see n. Spinosa, civiltà del seicento a napoli, exhibition catalogue, naples 1984, page 255, number 268). A second composition also dedicated to the same subject is part of a private neapolitan collection (100 x 130 cm; see v. Farina, “the neapolitan fortune of titian's 'baccanali'”, in: paragone, 2007, page 33, plate 38; n. Spinosa, pittura del seicento a napoli da caravaggio a massimo stanzione, naples 2008, page 238, number 139, 115 x 148 cm). The presence of at least three bacchanals by nicolò de simone, very similar to each other, which represent a variation of the same composition, should not surprise us, especially since in the 1630s the feast of venus and titian's bacchanal (both in the prado, madrid) had met with great public favor. Titian's paintings arrived in naples in 1633 as a gift from prince ludovisi to the spanish king in naples, and remained there for four years. Before being shipped to spain. The success of titian's paintings led to the production of many paintings of the same subject, including reinterpretations of titian's compositions by nicolas poussin, executed in his early roman years. The example of the french master, together with the works of giovanni benedetto castiglione, active in naples in 1635, represented the greatest source of inspiration for nicolò de simone. Spinosa sees in de simone's genoese canvas a very clear affinity in the iconographic and typological solutions compared to massimo stanzione's paintings on the same theme from around 1633 for the buen retiro palace in madrid (madrid, prado). At the same time, there are similarities with the two bacchanals by andrea de lione (formerly matthiesen, london; hotel britannique, naples), executed shortly after 1640. Spinosa hypothesizes that there must have been a prototype by nicolas poussin, now deceased, to whom stanzione, de lione and de simone referred (spinosa, op. Cit. , 1984, page 255, number 268, and spinosa, op. Cit. , 2008, page 238, number 139). Object Type: painting. Date: 18th century. Dimensions: height: 97 cm (38.1 in); width: 129.5 cm (50.9 in). Medium: oil on canvas. Collection: Unknown: Private collection, Europa. Niccolò De Simone
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