National Gallery Poussin painting written off as copy revealed as the real thing

A 17th century masterpiece that has hung in the National Gallery for almost 200 years has been revealed to be the real thing after years of controversy over its origins.

The Triumph of Silenus, which dates to around 1636, was thought to be an original by French painter Nicolas Poussin when bought by the gallery in 1824, but doubts grew because of its dull colours and coarse style and it was written off as a copy in 1946.

But conservation work on the painting, which shows Silenus, the companion to Bacchus, the Greek god of drunkenness, in the midst of a riotous party, too drunk to stand and balancing his leg on a tiger, was able to remove a layer of discoloured varnish and has allowed experts to prove its authenticity. It can now be confirmed as an autograph work, thought lost, commissioned around 1635–36 by Cardinal de Richelieu.

Scientists found similarities in the paint used in this work and another Poussin painted at the same time, and also discovered it is painted on canvas from the same roll of material used for two connected works by the artist, one of which, The Triumph of Pan, is also in the National Gallery collection.

National Gallery director Dr Gabriele Finaldi said: “Thanks to the work of the Gallery’s curators, conservators and scientists, the painting has been recognised as Poussin’s original. This is a very pleasing outcome of our ongoing research into the Gallery’s collection.” The reattribution takes the National’s holdings of the French artist’s work up to 14, making it one of the world’s most significant collections.

The painting will now play a key role in a new exhibition at the gallery, Poussin and the Dance, dedicated to dance in his work, which will open in October.