The Sorcerer Atlante Abducting Pinabello's Lady (Ariosto, Orlando Furioso, canto II, 38)

The Sorcerer Atlante Abducting Pinabello's Lady (Ariosto, Orlando Furioso, canto II, 38) by Nicolas Poussin is a significant example of French Baroque draftsmanship, executed between 1630 and 1643. This dynamic preparatory work, rendered primarily in pen and brown ink, illustrates a dramatic moment from Ludovico Ariosto’s epic poem, Orlando Furioso. The inclusion of black chalk on the verso suggests experimentation with light and shadow or possibly an intermediate step for tracing the composition onto a larger surface.

The drawing captures the climax of Canto II, where the powerful sorcerer Atlante uses his magic to snatch Pinabello's unfortunate companion. Poussin focuses on the frenetic energy of the abduction, defined by the rapid application of brown ink that emphasizes the desperate gestures of the lady being pulled from her saddle. The composition centers on the highly articulated figures of the men and the agitated depiction of the horses, successfully conveying movement and distress integral to the narrative.

Poussin, famed for his classically-inspired canvases, often utilized drawings like this as studies for larger projects or as independent works for collectors. The vigorous application of ink here reflects the Baroque taste for high drama, contrasting with the more refined classicism Poussin would adopt later in his career. This study provides significant insight into the artist’s preliminary process while he was based in Rome during this highly productive period. As a work currently housed in the Metropolitan Museum of Art collection, the drawing The Sorcerer Atlante Abducting Pinabello's Lady remains a vital reference point for scholars examining the intersection of literature and classical painting. High-quality prints of many such preparatory studies are frequently made available through various public domain resources.