Louie the 14th Paintings in the Palace Who Painted the Art ?
| Portrait of Louis Xiv | |
|---|---|
| French: Portrait de Louis Xiv en costume de sacre | |
 | |
| Artist | Hyacinthe Rigaud |
| Yr | 1701 (1701) |
| Medium | oil on sheet |
| Dimensions | 277 cm × 194 cm (109 in × 76 in) |
| Location | Musée du Louvre, Paris |
| Accession | INV 7492 |
Portrait of Louis XIV in Coronation Robes was painted in 1701 by the French painter Hyacinthe Rigaud after being deputed past the male monarch who wanted to satisfy the want of his grandson, Philip 5, for a portrait of him. Louis XIV kept information technology hanging at Versailles. This portrait has become the "official portrait" of Louis 14.
Context [edit]
On the decease of Rex Charles Ii of Spain on 18 November 1700, Spain was beset past the dynastic ambitions of other European powers, resulting in a succession state of war. The Spanish male monarch's will ruled out whatsoever idea of sharing and placed Philip, Duke of Anjou, 2nd son of the M Dauphin and one thousand-son of Louis XIV at the forefront of legitimate contenders for the crown. The future king of Espana, eager to take with him the image of his granddad, convinced Louis Fourteen to order Hyacinthe Rigaud to paint what would become the accented image of regal power and the reference picture for generations to come up:
His reputation [Rigaud's] having reached the king, because of the portrait he had washed of the 1000 Dauphin every bit commander at the siege of Philippsburg, he had the honor in 1700, to be appointed past His Majesty to paint Philip Five, male monarch of Kingdom of spain, his grandson, a few days earlier his departure to take possession of his kingdom. This work inspired the male monarch of Espana'due south request to the king, his grandfather, to requite him his portrait painted past the same hand, which His Majesty granted him. Rigaud had the honor to start the post-obit twelvemonth; and when it was finished, the monarch found the resemblance so perfect and then beautifully decorated, he ordered Rigaud to make a re-create of the aforementioned size, to send to the king of Spain, instead of the original. His About Christian Majesty is painted standing, clad in his purple wearing apparel. This film is 10 and a half feet high; it is located in Versailles, in the throne room, and the picture of the king of Spain is in the private room of His Majesty.[one]
Such were the statements of Hyacinthe Rigaud, through a friend, in the autobiography he sent to the Grand Duke of Tuscany Cosimo III in 1716.[2] [3] These statements are corroborated by the mention of the respective payment in the books of accounts of the artist, in 1701: "The Rex and the Male monarch of Spain, and a re-create of King'southward portrait of the same size every bit the original for his Catholic Majesty, in all 12,000 pounds ", the price of three pictures.[4] The same payment is charged to the imperial buildings accounts on September 16, 1702: "Two large portraits of the King full-length, with the small sketch for the said portraits, as well equally ane for the full-length portrait of the king 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 letter of the alphabet to the Knuckles of Noailles, dated March xi, 1701 wrote:
"I am working to send him the portrait which he has ordered me to brand him practice. Here are two afterwards-dinners that I return from Saint-Cyr to oblige the King to be painted. Gout came to our rescue. Without it nosotros volition not have held him for 3 or four hours"[6]
The day earlier, 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 later into the final composition:
"Thursday x [March 1701] at Versailles - The King's gout continues, he was painted later dinner past Rigaud to send his portrait to the Male monarch of Spain to whom he promised him [...].[7] "The next day, the work actually continued:" Friday 11 at Versailles - The Rex's gout grew a little, 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:
"Thanks for the care you took to become me the portrait of the rex, I look forwards...[8]"
The size and complexity of the composition justified the expectations of the sponsors and the time spent by the creative person to complete his work. All the evidence is that Rigaud painted from life while completing the portrait, which never did get sent to Spain.
Thursday, January nineteen, 1702, Rigaud is seeking a new session, wrote the Marquis de Dangeau:
"the King, who had no advice to keep, had the patience to be painted at Madame de Maintenon's by Rigaud; he sends this portrait to the King of Spain, who had urged on ".
"The portrait of the King has been exhibited in the neat apartment of Versailles; It is full with the royal habit. This work is by One thousand. Rigaud. Never has a portrait been better painted, nor more resembling; The whole court saw it and everyone admired information technology. A piece of work must be very cute and perfect to attract general applause in a place where good gustatory modality reigns and where i is not lavish of praise. His Majesty has promised his portrait to the King of Kingdom of spain, wants to keep his word by giving him the original, and Mr. Rigaud must make a copy that is desired past the entire Courtroom ."[9]
The director of the King's Buildings ordered from the painter's studio a number of copies (in various forms for European courts or provincial royal dispensaries, such as that commissioned past François Stiémart, for example) or engravings, proved past a payment order 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 pocket-size of the said portraits, as too of the total-length portrait of the Rex of Espana he made during the current year, 10,000 livres".[ten]
Pierre Drevet was appointed to conduct out the engravings and receives "perfect payment of five one thousand livres for the engraving [ sic ] he made of the portrait at the foot of the King Louis XIV, co-ordinate to G. Rigaud, during 1714-1715."[eleven] To do this, Drevet been assisted by a cartoon executed by the immature Jean-Marc Nattier and to who the 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 dandy deal to Nattier's work, which has recreated Rigaud'southward painting to its smallest details, to the projected dimensions of an etching. However, it extended the marble gallery in the groundwork slightly, a variation followed by the engraver. There is no dubiety that Rigaud himself supervised Nattier's work, since the drawing was intended for his friend Prevet, and Marc's male parent, Natier Mariette considers the work of Drevet as "what [the artist] has made more considerable" and that she " engraved by lodge of his very Christian Majesty and Estre put in his Cabinet."[13] In 1733, he noted the rarity in a letter of the alphabet to Gabburri: "For my part I can encourage you to acquire a portrait of the reigning rex and the queen, but the one engraved past Drevet is very difficult to have, and I take it Seen for sale at more than than eight livres. I tin have it for a discreet price just I have to requite me fourth dimension."[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 belongings a set up of scales in her manus, this vast portrait is that of an aging (63 years old) King, having reached the peak of his glory.
Rigaud executed the face up on a small rectangular canvas subsequently sewn in small-scale dots onto a larger canvas painted with the figure and background.[15] This original, at present in the Louvre 3, from the crown collections,[16] has a replica (at present shown in the Apollo Room of the Palace of Versailles ), besides signed although of slightly dissimilar dimensions than the original.[17] [eighteen] One can also find a copy at the Hotel Negresco. The rex is depicted standing upright, iii quarters to the left, his head depression and his anxiety in view, a pose calculated to presenting the greater part of his person. The male monarch occupies the central space of the painting whose composition is constructed from vertical lines (column, king, throne) and a pyramid in which the sovereign inscribes, which creates an elevated space. The drama of the scene is accentuated by a heavy draped curtain which traditionally means that the king does non appear only appears. A large marble colonnade, traditional evocation of ability since the Renaissance (as a stability symbol, the world centrality 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 two royal virtues: The allegories of Justice (front) and strength (left, very hard to run across).[19]
Stood before a throne upholstered in blueish and embroidered with fleur de lys placed high upwardly on a platform and under a purple (the color of power and wealth since antiquity) silk canopy, the king embodies the majesty of option because he demand non bear regalia (he is uncrowned, the paw of justice posed on a stool covered with a bluish fleur de lys curtain, scepter of his grandfather Henry Iv held upside downwardly every bit a cane), except to the sword of Charlemagne whose sole custody is visible.[twenty] 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, red - heeled shoes adorned with diamond buckles, and silk stockings held by garters ) wears the necklace of the Social club the Holy Spirit and the royal coat pinned high on the shoulder to highlight the former sword dancer and his thin legs equally Louis 14 had insisted that his features be "true" [22] [23]
Copies [edit]
A re-create of this portrait, made past Pierre Legendre, is in the library of the Palais Rohan in Strasbourg, opposite the portrait of Louis Xv, also in costume de sacre. Another copy is present at the Paris Observatory, between portraits of Giovanni Domenico Cassini and Urbain Le Verrier.
References [edit]
- ^ Lucien Bély, Dictionnaire Louis XIV, 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 error: no target: CITEREFCharles-Philippe_de_Chennevières-Pointel1854 (aid)
- ^ Joseph Roman 1919, p. 83.. sfn mistake: no target: CITEREFJoseph_Roman1919 (help)
- ^ Jules Guiffrey 1881, p. 693.. sfn error: no target: CITEREFJules_Guiffrey1881 (help)
- ^ Théophile Lavallée, Correspondance générale de madame de Maintenon publiée pour la première fois sur les autographes et les manuscrits authentiques […], Paris, Charpentier, 1866, vol. 4, p. 416. Autographe du cabinet de M. 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. 8, 1701-1702, Paris, 1856, p. 51.
- ^ Lavallée, p. 443-444. Manuscrit des Dames de Saint-Cyr.
- ^ Mercure de French republic, 1702, p. 302-303.
- ^ Guiffrey, 1896, Four, p. 827
- ^ Guiffrey, 1896, V, 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° xi.
- ^ Raccolta di lettere sulla pittura, scultura ed architettura scritte da'piu celebri personaggi dei secoli XV, 16, XVII, 1822, 2, 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, Ii, p. 757, no 4269.
- ^ Mathieu da Vinha, Raphaël Masson, Versailles Pour les Nuls, First Éditions, 2011, p. 187
- ^ Peter Burke, Louis XIV : les stratégies de la gloire, Éditions du Seuil, 1995, p. 190
- ^ Hervé Pinoteau, «Insignes et vêtements royaux», Bulletin du middle 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 2, 2008, p. 57 (DOI x.3917/sr.026.0057).
- ^ Étude d'un tableau : Louis Fourteen 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 l'Académie royale de peinture et de sculpture, publiés d'après les manuscrits conservés à fifty'école impériale des beaux-arts, vol. II, 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 direction 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 14, 1664-1715, vol. 5, Paris, 1881, 693, 697, 789, 876 p.
- Charles Maumené, Louis d'Harcourt, Iconographie des rois de French republic, vol. Five, Paris, Colin, 1931, 91-95 p.
- Anatole de Montaiglon, Procès-verbaux de 50'Académie Royale de Peinture et de Sculpture (1648-1793) publiés par Anatole de Montaiglon d'après les registres originaux conservés à fifty'École des Beaux-Arts de Paris, Paris, Société de 50'Histoire de l'fine 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 l'émotion, Louis Xiv en costume de sacre par Hyacinthe Rigaud. », Sociétés & Représentations, two/2008 (no 26), p. 57-seventy
- 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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