How Does Potrait of Louie Xiv Depict Baroque Art?
| Portrait of Louis XIV | |
|---|---|
| French: Portrait de Louis Xiv en costume de sacre | |
 | |
| Artist | Hyacinthe Rigaud |
| Year | 1701 (1701) |
| Medium | oil on sheet |
| Dimensions | 277 cm × 194 cm (109 in × 76 in) |
| Location | Musée du Louvre, Paris |
| Accretion | INV 7492 |
Portrait of Louis XIV in Coronation Robes was painted in 1701 by the French painter Hyacinthe Rigaud after being commissioned by the king who wanted to satisfy the desire of his grandson, Philip V, for a portrait of him. Louis XIV kept it hanging at Versailles. This portrait has get the "official portrait" of Louis XIV.
Context [edit]
On the death of Male monarch Charles II of Spain on xviii Nov 1700, Spain was beset by the dynastic ambitions of other European powers, resulting in a succession state of war. The Castilian male monarch's volition ruled out any idea of sharing and placed Philip, Duke of Anjou, second son of the K Dauphin and grand-son of Louis Xiv at the forefront of legitimate contenders for the crown. The future king of Spain, eager to take with him the image of his granddad, convinced Louis Fourteen to order Hyacinthe Rigaud to paint what would become the absolute image of royal power and the reference picture for generations to come:
His reputation [Rigaud's] having reached the rex, considering of the portrait he had done of the G Dauphin as commander at the siege of Philippsburg, he had the laurels in 1700, to be appointed by His Majesty to paint Philip V, king of Espana, his grandson, a few days before his departure to take possession of his kingdom. This piece of work inspired the king of Spain's request to the rex, his gramps, to give him his portrait painted past the same hand, which His Majesty granted him. Rigaud had the honor to start the following year; and when it was finished, the monarch found the resemblance and so perfect and so beautifully decorated, he ordered Rigaud to make a copy of the same size, to send to the king of Spain, instead of the original. His Virtually Christian Majesty is painted standing, clad in his royal clothes. This picture is ten and a half feet high; information technology is located in Versailles, in the throne room, and the movie of the king of Spain is in the private room of His Majesty.[1]
Such were the statements of Hyacinthe Rigaud, through a friend, in the autobiography he sent to the Grand Duke of Tuscany Cosimo 3 in 1716.[two] [three] These statements are corroborated by the mention of the corresponding payment in the books of accounts of the creative person, in 1701: "The King and the Rex of Kingdom of spain, and a copy of Male monarch's portrait of the aforementioned size as the original for his Catholic Majesty, in all 12,000 pounds ", the price of three pictures.[4] The aforementioned payment is charged to the royal buildings accounts on September 16, 1702: "Two large portraits of the King full-length, with the small sketch for the said portraits, besides as one for the full-length portrait of the male monarch of Kingdom of spain."[5]
Genesis [edit]
It seems that Philip V had obtained satisfaction through the intercession of Madame de Maintenon, who in a alphabetic character to the Duke of Noailles, dated March xi, 1701 wrote:
"I am working to send him the portrait which he has ordered me to make him do. Hither are ii later-dinners that I render from Saint-Cyr to oblige the King to be painted. Gout came to our rescue. Without it we will not take held him for 3 or four hours"[6]
The day before, the Marquis de Dangeau left in his journal testimony corroborating the statements of Mme de Maintenon, describing the beginning of the Louis Xiv painting, painted in privacy and designed to be embedded after into the concluding composition:
"Th 10 [March 1701] at Versailles - The King's gout continues, he was painted subsequently dinner by Rigaud to send his portrait to the Rex of Espana to whom he promised him [...].[7] "The adjacent twenty-four hour period, the work actually continued:" Fri 11 at Versailles - The King's gout grew a lilliputian, and on leaving the sermon, where he was carried, he was carried dorsum to Madame de Maintenon's, where Rigaud worked on his portrait.."
On September 3, 1703, in a touching letter he wrote to the Marquise, Philip V in turn confessed:
"Give thanks y'all for the care you took to get me the portrait of the king, I wait forrard...[8]"
The size and complication of the limerick justified the expectations of the sponsors and the time spent by the artist to complete his work. All the show is that Rigaud painted from life while completing the portrait, which never did get sent to Spain.
Th, Jan xix, 1702, Rigaud is seeking a new session, wrote the Marquis de Dangeau:
"the King, who had no communication to keep, had the patience to be painted at Madame de Maintenon's by Rigaud; he sends this portrait to the Rex of Spain, who had urged on ".
"The portrait of the King has been exhibited in the cracking apartment of Versailles; It is full with the royal habit. This work is by Thou. Rigaud. Never has a portrait been better painted, nor more resembling; The whole court saw information technology and everyone admired it. A work must exist very beautiful and perfect to attract general adulation in a identify where good sense of taste reigns and where i is not lavish of praise. His Majesty has promised his portrait to the King of Spain, wants to proceed his word by giving him the original, and Mr. Rigaud must make a copy that is desired past the entire Courtroom ."[nine]
The director of the King's Buildings ordered from the painter'due south studio a number of copies (in diverse forms for European courts or provincial royal dispensaries, such as that commissioned by François Stiémart, for example) or engravings, proved by a payment social club dated September 16, 1702: "To Sieur Rigaud, ordinary painter of the King, for two large portraits of the King in full, with the sketch in small of the said portraits, as also of the full-length portrait of the King of Spain he fabricated during the current year, 10,000 livres".[x]
Pierre Drevet was appointed to carry out the engravings and receives "perfect payment of v m livres for the engraving [ sic ] he made of the portrait at the foot of the King Louis XIV, according to Thou. Rigaud, during 1714-1715."[11] To practice this, Drevet been assisted by a drawing executed by the young Jean-Marc Nattier and to who the managing director of buildings records payment, on August 20, 1713:
"to the Sr Nattier the young, painter, for the drawing of a portrait of the king after Rigaud, which he copied to serve equally a model for engraving during 1713, [...] 500 livres"[12]
Drevet owes a great deal to Nattier's work, which has recreated Rigaud's painting to its smallest details, to the projected dimensions of an etching. All the same, it extended the marble gallery in the background slightly, a variation followed past the engraver. There is no doubt that Rigaud himself supervised Nattier's work, since the drawing was intended for his friend Prevet, and Marc's father, Natier Mariette considers the work of Drevet as "what [the artist] has fabricated more considerable" and that she " engraved by order of his very Christian Majesty and Estre put in his Cabinet."[xiii] In 1733, he noted the rarity in a alphabetic character to Gabburri: "For my part I can encourage you lot to larn a portrait of the reigning king and the queen, but the 1 engraved by Drevet is very hard to have, and I have information technology Seen for sale at more 8 livres. I tin have it for a discreet price but I have to give me time."[xiv]
Description [edit]
Signed and dated, "Painted by Hyacinthe Rigaud in 1701" on the base of the column supporting the goddess of Justice, and with Themis holding a gear up of scales in her hand, this vast portrait is that of an aging (63 years old) Male monarch, having reached the peak of his glory.
Rigaud executed the face on a small rectangular canvas subsequently sewn in small dots onto a larger canvas painted with the figure and background.[15] This original, now in the Louvre 3, from the crown collections,[16] has a replica (now shown in the Apollo Room of the Palace of Versailles ), also signed although of slightly dissimilar dimensions than the original.[17] [18] I can besides find a re-create at the Hotel Negresco. The king is depicted standing upright, three quarters to the left, his head low and his feet in view, a pose calculated to presenting the greater part of his person. The king occupies the central space of the painting whose composition is constructed from vertical lines (column, male monarch, throne) and a pyramid in which the sovereign inscribes, which creates an elevated space. The drama of the scene is accentuated past a heavy draped drapery which traditionally means that the king does not appear but appears. A large marble pillar, traditional evocation of ability since the Renaissance (equally a stability symbol, the earth axis that unites the earthly and heavenly powers) holds the composition left. The massive barrel rests on a stylobate whose two visible sides are decorated with reliefs depicting ii imperial virtues: The allegories of Justice (front) and strength (left, very difficult to run into).[nineteen]
Stood before a throne upholstered in blue and embroidered with fleur de lys placed loftier up on a platform and nether a purple (the color of power and wealth since artifact) silk canopy, the rex embodies the majesty of choice because he need not deport regalia (he is uncrowned, the hand of justice posed on a stool covered with a blue fleur de lys drapery, scepter of his grandfather Henry IV held upside down as a cane), except to the sword of Charlemagne whose sole custody is visible.[20] Wearing this sword with the coronation mantle is an obvious incongruity.[21] The monarch is clothed in a leonine wig and court garments ( lace shirt and cuffs, brocade rhingraves, ruddy - heeled shoes adorned with diamond buckles, and silk stockings held by garters ) wears the necklace of the Order the Holy Spirit and the royal coat pinned high on the shoulder to highlight the former sword dancer and his thin legs as Louis Xiv had insisted that his features be "true" [22] [23]
Copies [edit]
A copy of this portrait, made by Pierre Legendre, is in the library of the Palais Rohan in Strasbourg, opposite the portrait of Louis Fifteen, also in costume de sacre. Another re-create is present at the Paris Observatory, between portraits of Giovanni Domenico Cassini and Urbain Le Verrier.
References [edit]
- ^ Lucien Bély, Dictionnaire Louis 14, Robert Laffont, 2015, p. 103
- ^ van Hulst, Hendrick (1716). Abrégé de la Vie de Hyacinthe Rigaud.
- ^ Charles-Philippe de Chennevières-Pointel 1854, p. 118.. sfn fault: no target: CITEREFCharles-Philippe_de_Chennevières-Pointel1854 (help)
- ^ Joseph Roman 1919, p. 83.. sfn error: no target: CITEREFJoseph_Roman1919 (help)
- ^ Jules Guiffrey 1881, p. 693.. sfn error: no target: CITEREFJules_Guiffrey1881 (assistance)
- ^ Théophile Lavallée, Correspondance générale de madame de Maintenon publiée cascade la première fois sur les autographes et les manuscrits authentiques […], Paris, Charpentier, 1866, vol. IV, p. 416. Autographe du cabinet de Thou. le duc de Cambacérès.
- ^ Periodical du marquis de Dangeau, publié en entier pour la première fois par MM. Soulié, Dussieux, de Chennevières, Mantz, de Montaiglon avec les additions inédites du Duc de Saint-Simon, t. VIII, 1701-1702, Paris, 1856, p. 51.
- ^ Lavallée, p. 443-444. Manuscrit des Dames de Saint-Cyr.
- ^ Mercure de France, 1702, p. 302-303.
- ^ Guiffrey, 1896, IV, p. 827
- ^ Guiffrey, 1896, 5, p. 876, 16 février 1716.
- ^ Jules Guiffrey, 1881 & p. 693. sfn error: no target: CITEREFJules_Guiffrey1881p._693. (help)
- ^ Pierre-Jean Mariette, Notes manuscrites sur les peintres et les graveurs, 1740-1770, Paris, Bibliothèque Nationale de France, cabinet des Estampes, Ya2 4, VII, f° 11.
- ^ Raccolta di lettere sulla pittura, scultura ed architettura scritte da'piu celebri personaggi dei secoli XV, XVI, XVII, 1822, Ii, p. 398.
- ^ «Louis XIV en costume du sacre - 1701 », étude de Janine Vittori, Conseillère Pédagogique Départementale Arts visuels Haute-Corse, mars 2010
- ^ Fernand Engerand 1901, p. 463.
- ^ Joseph Roman 1919, p. 83.
- ^ laire Constans, Musée National du château de Versailles : Les peintures, Paris, RMN, 1995, 2, p. 757, no 4269.
- ^ Mathieu da Vinha, Raphaël Masson, Versailles Pour les Nuls, Starting time Éditions, 2011, p. 187
- ^ Peter Burke, Louis 14 : les stratégies de la gloire, Éditions du Seuil, 1995, p. 190
- ^ Hervé Pinoteau, «Insignes et vêtements royaux», Bulletin du centre de recherche du château de Versailles, no 2, décembre 2005, p. 21
- ^ Myriam Tsikounas, « De la gloire à l'émotion, Louis XIV en costume de sacre par Hyacinthe Rigaud », Sociétés & Représentations, vol. 26, no ii, 2008, p. 57 (DOI 10.3917/sr.026.0057).
- ^ Étude d'un tableau : Louis Xiv en costume de sacre [archive].
Sources [edit]
- Charles-Philippe de Chennevières-Pointel, Louis Étienne Dussieux, Paul Mantz, Anatole de Montaiglon, Eudore Soulié, Mémoires inédits sur la vie et les ouvrages des membres de 50'Académie royale de peinture et de sculpture, publiés d'après les manuscrits conservés à l'école impériale des beaux-arts, vol. Two, Paris, Société de l'histoire de l'art français, 1854
- Antoine Joseph Dezallier d'Argenville, Abrégé de la vie des plus fameux peintres, avec leurs portraits gravés en taille-douce, les indications de leurs principaux ouvrages, Quelques réflexions sur leurs Caractères, et la manière de connoître les dessins des grands maîtres, vol. Iv, Paris, De Bure, 1745
- Fernand Engerand, Inventaires des collections de la couronne. Inventaire des tableaux commandés et achetés par la management des bâtiments du roi (1709-1792), vol. I, 1901, 463-464, 561, 620 p.
- Jules Guiffrey, Comptes des Bâtiments du Roi sous le règne de Louis XIV, 1664-1715, vol. V, Paris, 1881, 693, 697, 789, 876 p.
- Charles Maumené, Louis d'Harcourt, Iconographie des rois de France, vol. V, Paris, Colin, 1931, 91-95 p.
- Anatole de Montaiglon, Procès-verbaux de l'Académie Royale de Peinture et de Sculpture (1648-1793) publiés par Anatole de Montaiglon d'après les registres originaux conservés à l'École des Beaux-Arts de Paris, Paris, Société de fifty'Histoire de l'art français, 1875-1892
- Stéphan Perreau, Hyacinthe Rigaud (1659-1743), le peintre des rois, Montpellier, Nouvelles Presses du Languedoc, 2004
- Myriam Tsikounas, « De la gloire à fifty'émotion, Louis Fourteen en costume de sacre par Hyacinthe Rigaud. », Sociétés & Représentations, two/2008 (no 26), p. 57-70
- Joseph Roman, Le livre de raison du peintre Hyacinthe Rigaud, Paris, Laurens, 1919
External links [edit]
Source: https://en.wikipedia.org/wiki/Portrait_of_Louis_XIV
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