Conservation

Please note, both Museum gallery buildings will be closed Thursday, November 22, for Thanksgiving.

}

When conducting research on the Statue of Bacchus in 2013, Caroline Rocheleau, NCMA curator of ancient art, and consultant Mark Abbe, assistant professor of ancient art at University of Georgia, Athens, found thought-provoking correspondence in the NCMA files regarding the statue. In the early 1960s, NCMA Director Justus Bier had consulted classical art experts about the sculpture, and they identified it as a patchwork, comprising a head from a different ancient statue, a beautifully preserved ancient torso, and limbs, hair locks, berries and leaves that were put together in the late 16th century or early 17th century. Scholars strongly advocated for the complete de-restoration of Bacchus. But recognizing the limited technology at the time, Director Bier stated "I feel we might leave the problem of disassembling it [the Bacchus] to some future generation, rather than attempting it now."

The study of Bacchus resumed in the 1980s in the Museum’s new conservation lab. Samples of marbles were taken from the ancient parts of the sculpture, and the analysis confirmed that the head was from a different ancient sculpture. The head was then removed. In 1990 the postantique ivy leaves, berry clusters, and locks of hair were removed from the head, which was then displayed in the Classical Galleries. This derestoration, however, did not extend to the rest of the sculpture, and the rare ancient torso was left trapped in the patchwork statue

About the Project

With this new information, discussions began on what to do with the partially derestored statue. To address important art-historical and ethical questions, Rocheleau and Abbe, together with objects conservator Corey Smith Riley and the NCMA Art Conservation staff, developed the Bacchus Conservation Project.

The project includes completing the derestoration begun 30 years ago as well as conducting scientific research to understand the 16th/17th-century restoration methods and the sculpture’s history. The added elements will be used, together with newly made replicas of the ancient fragments and a newly sculpted arm, to re-create Bacchus in full.

All three elements (the head, newly freed torso, and re-creation of Bacchus) will be displayed along with digital experiences to engage the public in the conservation process. Behind-the-scenes interactive programs will explore how the scientific method is used to solve real-world art challenges. At the conclusion of the project, the NCMA will gain a rare and significant ancient work of art from its own collection.

The Bacchus Conservation Project is made possible by:

Bank of America

The Institute of Museum and Library Services (MA-30-16-0264-16)

Additional support provided by Steve and Frosene Zeis and Don Davis and Peggy Wilks.

Support for collection research and initial study of the statue of Bacchus is made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.

HEAD OF DIONYSOS

Inv. no. G.58.2.1

The head once perched on Bacchus’s finely muscled body is from a now-lost Roman marble sculpture of a Greek Dionysos, dated to the 1st–3rd century. It is currently on view in the Classical Galleries in West Building, without its 16th-century berries, ivy, and locks of hair.

TORSO OF A YOUTH

Inv. no. G.58.2.2

The torso of a now-lost Roman marble copy of a now-lost Greek bronze statue. It most likely represents a youthful Greek athlete, perhaps in his moment of greatest glory, crowning himself as victor with his wreath in his raised right arm after a competition. The torso is dated to the 2nd century. Using Photoshop, we extracted the torso to show you what it will look like after derestoration.

COMPOSITE STATUE OF BACCHUS

Inv. no. G.58.2.3

In 1958: A composite statue comprising a torso and a head from two different ancient sculptures, augmented in the 16th century with limbs, tree trunk, base, and berries, ivy, and locks of hair. This was Bacchus before the 1980s derestoration.

NEW COMPOSITE STATUE OF BACCHUS

In the near future: A composite statue comprising modern replicas of the ancient torso and head added to the late 16th-early 17th century historical core: legs, left arm, tree trunk, base, berries, ivy and locks of hair. The sculpture will also include the now-missing right arm, sculpted specifically for the new Bacchus. A drawing of our Statue of Bacchus published in the 1830s shows us what he looked like. Pictured is Rocheleau’s sketch of this drawing.

POSTANTIQUE BERRIES AND LEAVES

Some berries and leaves that where added to the head of Bacchus in the late 16th-early 17th century were derestored. We still have them and these will be reused in the new recreation of Bacchus.

The Bacchus Conservation Project is a multidisciplinary and multiphase endeavor. Take a look at the slide show to see the exhibition history of the sculpture and view images of the preliminary phases of the systematic study of the classical marble sculptures. Visit often to see Bacchus transform before your eyes!