The Marie de 'Medici Cycle is a series of twenty-four paintings by Peter Paul Rubens commissioned by Marie de' Medici, Henry IV's widow from France, for the Luxembourg Palace in Paris. Rubens received a commission in the fall of 1621. After negotiating the terms of the contract in early 1622, the project would be completed within two years, coinciding with Marie's daughter marriage, Henrietta Maria. Twenty-one paintings illustrate Marie's own struggle and victory in life. The three remaining are portraits of himself and his parents. The paintings are now hanging in the Louvre in Paris.
Video Marie de' Medici cycle
Commission
Much speculation lies in the precise situation in which Marie de 'Medici decided to assign Rubens to describe "a magnificent project, structured in truly heroic proportions." John Coolidge states that the cycle may have been commissioned to compete with another famous series of Rubens, The Constantine Tapestries , which he designed in his studio at the same time as the first few Medici Cycle paintings. It has also been suggested that Rubens prepare a number of oil sketches, with the request of Louis XIII, son of Marie de Medici and successor to the throne, which may have influenced the Queen's decision to assign Rubens to the cycle in the end. from 1621. The perpetuation of his life, however, seems to be the most obvious reason for the Queen's choice to assign painters capable of performing such a demanding task. Peter Paul Rubens has established himself as a great painter and also has the advantage of maintaining close relationships with several important people at the time, including sister Marie de 'Medici, wife of one of Rubens' first important supporters, the Duke of Gonzaga. The information on the commission in the contract signed by Rubens is far from detailed and focuses primarily on the number of images in cycles dedicated to Queen's life, and much more specific when it comes to cycles praising her husband Henry IV. The contract states that Rubens is to paint all the numbers, which might allow him to hire assistants for background and detail.
Maps Marie de' Medici cycle
Marie de 'Medici
Marie de 'Medici became second wife to King Henry IV of France in a marriage by proxy on October 5, 1600 by the forces invested in his uncle, Grand Duke Ferdinand of Tuscany. When Henry was murdered in 1610, Louis XIII, his son and successor to the throne, was only eight years old. Mother Louis, Marie, acts as his bupat as commanded by Salish Frankish's law in the case of a baby ruler. However, even after Louis came of age at thirteen in 1614, the queen continued to reign as his successor. In 1617, Louis XIII finally decided to take careful matters in his own hands at the age of fifteen and the queen was exiled to Blois.
Louis and his mother were not reconciled for more than four years, and finally in 1621 Marie was allowed to return to Paris. Upon his return, Marie concentrated on building and decorating the Palace of Luxembourg, a major effort in which Peter Paul Rubens played a key role. Rubens, then the palace painter to the Mantua Duchy under Vincenzo I Gonzaga, first met Marie at his proximity wedding in Florence in 1600. In 1621, Marie de 'Medici commissioned Rubens to paint two major series depicting his life and his deceased. husband, Henry IV, to adorn the wings of the first floor of the Luxembourg Palace. The first series of 21 canvas depicts Marie's life in most allegorical terms, and finished at the end of 1624, to coincide with the celebration surrounding the marriage of her daughter, Henrietta Maria to Charles I of England on May 11, 1625. The cycle of paintings dedicated to the life of Henry IV never finished, though some early sketches survive. (See Cycle # Henry IV below). The fact that the unruly series of Henry IV can be attributed in part to Marie de Medici was permanently banned from France by his son in 1631. He fled to Brussels, and subsequently died in exile in 1642 in the same house as Peter Family Paul Rubens occupied more than fifty years before.
While this cycle was one of the first major Rubens commissions, Marie de 'Medici's life proved difficult to describe. Rubens had the task of creating twenty-one paintings of a woman whose life could be measured by her marriage to Henry IV and the birth of six children, one of whom died in infancy. At this time, women generally do not receive such praise, though Rubens, if any, is well equipped for the job, greatly honoring the "virtues of the opposite sex", as seen in his work for Archduchess Isabella. Furthermore, unlike her husband, Marie's life is not celebrated with victory triumphs or interrupted by defeated enemies. On the contrary, the implications of political scandals in his life make every literal representation of events too controversial for Rubens to be executed without causing disapproval from others in government. Far from failing, Rubens showed his impressive knowledge of classical literature and artistic traditions, using the representation of allegorism to glorify the worldly aspects and sensitively illustrate the unfortunate events in Marie's life. During the sixteenth and seventeenth centuries the iconography of the Christian world, as well as the Greek and Roman pantheons were understood by well-educated artists and citizens, and devices familiar to art. Rubens painted extraordinary images of the Queen Mother who was surrounded by ancient gods and sometimes even deified her using this device. The ambiguity of the numbers is basically used to describe Marie in a positive light.
The Medici Rubens Commission also became an inspiration for other artists, especially the French painter Jean-Antoine Watteau (1684-1721) and FranÃÆ'§§ois Boucher (1703-1770) who produced copies of the Medici cycle.
Rubens
Peter Paul Rubens (1577-1640) was a very influential artist in Northern Europe, widely believed to have played an important role in shaping the visual style and language of his time. Superintendent or creator of over three thousand pieces of wood, engravings and paintings in various media, the works of Rubens include paintings, altarpieces, portraits and historical landscapes, religions and allegories. He is primarily known for his role as a human figure, rich and richly colored fabrics and well-developed themes often derive from Christian and classical traditions. Rubens studied classical, Greek and Latin texts influencing his career and making him different from other painters of his day. Early in his career, Rubens studied under Flemish artists such as Otto van Veen, but his most notable influence came from the time he spent in Italy where he studied ancient sculptures and works of Michelangelo, Raphael, Caravaggio, Titian, and Veronese. It was in Italy he began making copies of classic sculptures, such as Laocoon, and collecting pictures done by other artists. However, the artist is also a collector who likes to reproduce and work original, not only from the masters of the Italian Renaissance, but more dominant than his contemporaries. Rubens has more prints from his contemporary, Adriaen Brouwer, than any other Italian influence or his own colleagues, though it is suggested that Rubens' compassion and concern for Brouwer's career may have been an influential cause for his collection of Brouwer's works. The visual history record and the influence of his contemporaries, some who became lifelong friends of Rubens, will make a trace on his art throughout his life.
When Rubens was assigned to paint the cycle of Marie de 'Medici, he was probably the most famous and skilled artist in Northern Europe, and was greatly appreciated for his monumental religious work, commissioned by various councils and churches in the area. However, the Medici commission was welcomed by Rubens as an opportunity to apply his skills in secular scenes. The benefits of Marie de Medici's commission continue for the rest of Rubens' career. He not only builds and publishes his skills, but also the similarities that exist in his later works, such as component and style themes, can not be denied reflecting the Medici series.
The Paintings
Initially the paintings were hung clockwise in chronological order, decorating the waiting room wall that stretched from a royal apartment in Marie de 'Medici's Luxembourg Palace. The paintings are now displayed in the same order in the Louvre. There are additional claims that Marie has dreamed of these paintings to be studied in turns, from left to right, so that the wise viewer must walk through the gallery. Coolidge also argues that Marie imagines the subject as falling into a couple, and further into the group. Therefore, Marie's visual biography is divided into three main chapters: childhood, married life queens, and districts as widows. All paintings have the same height even though their width varies to fit the shape of the room they want. Sixteen paintings covering a gallery wall measuring about four meters by three meters wide, three larger paintings at the end of the room are four meters wide by seven meters.
Initially the audience will enter the gallery from the southeast corner. The most visible works from this angle are Coronation in Saint Denis and Henry IV Death and District Proclamation. The cycle starts at the entrance wall, showing pictures of Marie's little years and her marriage to Henry IV. Four of the pictures were devoted to marriage, probably because the marriage at Marie's relatively advanced age of twenty-seven years was quite rare for a woman at the time. This half ends with Marie's coronation portrayal. The wall opposite the gallery entrance shows pictures of murders and assumptions of Henry IV, as well as the proclamation of Marie Widow's rule. From there, the second half of the Rubens cycle begins to discuss the more controversial issues of the Marie government. For example, both quarrels and reconciliation with his son Louis XIII is the subject of Marie de 'Medici asking Rubens to paint for this gallery.
The historical period that includes the subject for painting is a time of political upheaval in which Rubens seeks not to offend the ruling French monarch. Rubens thus turns to mythology, symbolic references, personification of evil and virtues and religious analogies to mask a reality that is often not heroic or ambiguous. In this context, Rubens' approach to 'historical truth' may seem selective or, worse, dishonest, but he is not a historian in the modern sense, nor a journalist; Medici cycles are not a reportage, but a poetic transformation.
As a source of narrative for the Marie de 'Medici cycle, Rubens uses the ancient genera of writing in which the ideal kingdom government, and good governance are explored. This writing genera is called Panegyric. Panegyric writing is usually written during important political events, the birth of a prince for example, and is used to glorify the quality and ancestry of a ruler. A formal chronological structure is followed in Panegyric writing detailing ancestry, birth, education, and individual life. Rubens follows this structure in his series of paintings of Marie de 'Medici.
The price of Marie de 'Medici Cycle is approximately 24,000 guilders for 292 square meters, which is approximately 82 guilders, or 1,512 dollars, per square meter.
Fate Marie de 'Medici
The first painting of the narrative cycle, The Destiny of Marie de 'Medici , is a twisted composition of the three Fates in the clouds below the heavenly figures Juno and Jupiter.
The fate is portrayed as beautiful nude goddesses spinning the yarn of Marie de Medici's destiny; Their presence at Marie's birth guarantees her prosperity and success as a ruler who is unveiled in the next cycle panel. In Greek and Roman mythology, one fate twisted the thread, the other measured its length, and the third cut the thread. However, in Rubens's portrayal, the scissors needed for this cut are removed, emphasizing the special and enduring character of the Queen's life. The last panel of the cycle, according to this theme, describes Queen Marie ascending to her place as the queen of heaven, having achieved her lifelong goal of immortality through eternal fame.
Initial interpretation explains Juno's presence at the scene through his identity as a goddess of birth. Then the interpretation suggests, however, that Rubens uses Juno to represent Marie de 'Medici's alter ego, or avatar, throughout the cycle. Jupiter correctly marks the allegory of Henry IV, the husband who likes to choose a partner.
Princess Birth
The second painting of the cycle, The Birth of the Princess , describes the Medici birth on April 26, 1573. Symbols and allegories appeared throughout the painting. On the left, two puttis play with a shield in which the Medici symbol appears, indicating that He prefers the young Medici from the moment of his birth. The river god in the right-hand corner of the picture is probably an allusion to the Arno River passing through Florence, Marie's hometown. The offspring above the baby's head can be interpreted as a sign of his future triumph and luck; lions can be seen as a symbol of strength and strength. Hello glowing around the baby's head should not be seen as a reference to Christian image; Instead, it must be read in accordance with the imperial iconography that uses halo as an indication of the divine nature of the Queen and the future of his government. Although Marie was born under the sign of Taurus, Sagittarius appears in the painting; it can be seen as a guardian of imperial power.
Princess Education
Princess Education (1622-1625) shows Marie de 'Medici who has grown up while studying. His education was given divine grace by the presence of three gods Apollo, Athena, and Hermes. Apollo is associated with art, Athena with wisdom, and Hermes the messenger god for fluency and understanding of language. Hermes dramatically rushed on the scene and literally brought gifts from the gods, the caduceus. Generally think that Hermes bless the princess with the gift of eloquence, to go along with Grace's graceful beauty. However, caduceus, seen in the other six paintings in the cycle, is also associated with peace and harmony. The object can be seen as a forecast of Marie's peaceful reign. It can be interpreted that the combined efforts of these divine teachers illustrate Marie's perfect readiness for the responsibilities she will gain in the future, and the trials and tribulations she will face as Queen. It is also suggested that the three gods, more importantly, offer their guidance as a gift that allows the soul to be "liberated by reason" and gain knowledge of what "good" expresses the divine connection between the gods and the future Queen.. This painting features a decorated Baroque collaboration on spiritual and worldly relationships, illustrated in a theatrical environment. Acting as more than just a static symbol, the figures portrayed take an active part in their education. Also present were three graces, Euphrosyne, Aglaea, and Thalia gave her beauty.
Presentation of the Portrait to Henry IV
To fully appreciate and appreciate this part of the cycle and the collection as a whole, there is one historical principle to consider. This painting was created at the cusp of the age of absolutism and, thus, one must remember the nobility is considered above the physical existence. So from birth, Marie will lead a life more ornamental than mortal. The paintings of these classical gods, along with allegorical personifications, rightly show viewers just how basic this idea is.
Like Tamino on The Magic Flute, Henry IV falls in love with painted images. With Amor the Cupid as his escort, Hymenaios, the god of marriage, presents Marie's daughter on a canvas for the future king and her husband. Meanwhile, Jupiter and Juno sit on clouds looking down on Henry because they give the viewers a key example of marriage harmony and thus show approval for marriage. French personification is shown behind Henry in his helmet, his left hand showing support, sharing in his admiration for future sovereignty. Rubens has a way of portraying a very flexible French in gender in many of his paintings in cycles. Here France takes the role of androgyny as a woman and man at the same time. Frances's intimate attitude may indicate the closeness between Henry and her country. This attitude will usually be shared among male friends, telling each other's secrets. The way France also dresses shows how the women above it reveal her breasts and the way her fabrics put on an additional sense of classicism. But the bottom, especially the exposed calf and Roman boots hinted at masculinity. The sign of male power in the history of images is their stand and shows strong legs. The relationship between the two shows that not only the gods who support the match, the King also has good expectations from his people.
In marriage negotiations between Marie de 'Medici and Henry IV, a number of portraits are exchanged between the two. The king is pleased with his performance, and after meeting him is more impressed by him, than with his portrait. There is great agreement from the game, because the pope and many of Florentine's strong nobles have advocated marriage and have tried to convince the king of the benefits of such unity. The couple married a proxy on October 5, 1600.
Rubens was able to unify these characters into a single entity. He created equality among all the figures in his paintings by cleverly balancing the physical space and fine space.
Marriage by Proxy Marie de 'Medici to King Henry IV
Marriage by Proxy Marie de 'Medici to King Henry IV (1622-25), Rubens describes the proxy marriage of the daughter of Florentine Marie de' Medici to the French King Henry IV who took place at Florence's cathedral on October 5 1600. Cardinal Pietro Aldobrandini leads the ritual. As is often the case with royal marriages, the bride's uncle, Grand Duke Ferdinand of Tuscany stood in the place of the King and pictured here slipped a ring on the finger of his niece. All the characters around him can be identified, including the artist himself. Although he was present at the actual event twenty years earlier, as a member of the Gonzaga family during his travels in Italy, Rubens looked young and stood behind the bride, holding the cross and staring at the audience. It is highly unlikely that Rubens really had a real presence in this scene when that happened. Those attending the ceremony for Marie included the Grand Duchess Cristina of Tuscany and Marie Eleonora's sister, the Duchess of Mantua; and in the Grand Duke entourage were Roger de Bellegarde, Grand Esquire of France, and Marquis de Sillery, who negotiated marriage. As in other scenes in the Medici Cycle, Rubens incorporates mythological elements: the ancient marriage god, the Hymenaios who wore the crown of roses, carrying the bridal carriage in one hand and the wedding torch in the other. The scene takes place under a marble statue, which depicts God the Father grieving over the dead body of Christ, offending Pieta's statue by Baccio Bandinelli (1493-1560).
The Disembarkation at Marseilles
Having never been a very graceful event for anyone, getting off the ship did not pose a problem for Rubens in his portrayal of Marie de 'Medici who arrived in Marseilles after marrying Henry IV by his deputy in Florence. Rubens has returned, turning something ordinary into something extraordinary. He describes him leaving the ship at the bottom of the stairs (he actually runs, not down, but illustrated in this way by Rubens to create a diagonal element). She is accompanied by the Grand Duchess of Tuscany and her sister, Duchess of Mantua, into a welcoming, open-allegory arm of French personified, wearing a helmet and a royal blue coat with gold fleur-de-lis. Her sister and her aunt flank Marie while two trumpets blown simultaneously by the subtle Fame, announcing her arrival to the French people. Below, Poseidon, three Nereids, gods of the sea and Triton arose from the sea, having ushered the future Queen on a long journey to secure her safe arrival in Marseilles. To the left, Medici's arm can be seen above the curved structure, where Knight of Malta stands in all its regalia. These melodies and songs as Rubens combine sky and Earth, history and allegory become symphonies for the eyes of viewers. In addition to the notes, Avermaete discusses an interesting idea that specifically exists on this canvas.
He [Rubens] surrounds him [Marie de 'Medici] with so much expertise that every time he is almost pushed into the background. Consider, for example, Disembarkated in Marseilles , where everyone has eyes only for exciting Naiads, for the losses of queens accepted with open arms by the French "
Meeting of Marie de 'Medici and Henry IV at Lyons
This painting allegorically portrays the first encounters of Marie and Henry, which occurred after their marriage was proxied. The top half of the painting shows Marie and Henry as mythological Roman god Juno and Jupiter. Representations are accompanied by their traditional attributes. Marie is featured as Juno (Greek Hera) identified by peacocks and carts. Henry is shown as Jupiter (Greek Zeus) identified by lightning fire in his hand and eagle. The joining of the couple's right hand is the traditional symbol of marriage. They wear a classic style, which naturally fits the scene. Above the two stands Hymen are uniting them. The rainbow extends from the left corner, a symbol of harmony and peace. The lower half of the painting is dominated by Lyons imagery. Reading from left to right, we see a view of the city with one hill. The lion pulls the train (which is a pun on behalf of the city), and on the train we see the allegorical figure of the city itself with its crown of fort: Lyons. Rubens had to be very careful in the representation of the couple's first encounter because it was suspected that Henry was deeply involved with a mistress at the time of marriage. In fact, due to another king's engagement their introductions were delayed, and it was not until midnight almost a week after Marie arrived that Henry finally joined his bride. By presenting him as Jupiter Rubens implies the association of men and gods. Along with placing the King and Queen together he effectively describes the elevated status of the couple.
Dauphin birth in Fontainebleau
This painting depicts the birth of the first son of Marie de 'Medici, Louis XIII. Rubens designed the scene around a political peace theme. The birth of the first male heir brought a sense of security to the royal family that they will continue to rule. At that time an heir was the most important, especially if Henry wanted to show his masculinity and not continue with the pattern of reproductive failure of the kingdom. The word dauphin is French for dolphins, a term related to noble aristocracy. Henry's association made it difficult for the legitimate heir's production, and rumors circulated that the court artists of Henry began using strategies to convince the country otherwise. One of these strategies is to personify Marie as Juno or Minerva. By representing Marie as Juno, implying Henry as Jupiter, the king looks tamed by marriage. The queen's personification as Minerva will facilitate Henry's military might and his own. As a Flemish painter, Rubens belonged to a dog in the painting, which offended allegiance in marriage. In addition to Rubens' political peace notion also includes the personification of Justice, Astraea. The return of Astraea to the earth is a symbol of the ongoing realization of Justice with the birth of the future king. Louis is treated by Themis, goddess of the divine order, referring to Louis XIII's birthright until one day becoming king. The baby is quite close to the snake, which is a representation of Health. Rubens combines the traditional allegory of the cornucopia, which symbolizes abundance, to enhance the meaning of the painting by including the heads of the unborn children of Marie de Medici among the fruit. While Marie looked at his son, Fecundity pressed the stimulus to his arm, representing a complete and abundant family to come.
Submitting District
Throughout the description of the life of Marie de 'Medici, Rubens must be careful not to offend Marie or king, Louis XIII, when describing controversial events. Marie commissioned a painting that really follows the events of her life, and it is Rubens's duty to wisely deliver these images. More than once, the artist's artistic license was curbed to portray Marie in the right light. In District Consignment , Henry IV entrusted Marie with the two French districts and dauphin care just before the war campaign and finally his death. Set in a grand Italian-style architecture, the theme is a bit annoying. Caution, the figure to Marie's right, was stripped of her symbolic snake to reduce the likelihood that any audience would be reminded of Marie's rumored involvement in the killing of the King. The efficacy of the missing form to ensure Marie's representation in a positive light. Other changes include the omission of the Three Fates, originally positioned behind the king calling him to his destiny, war, and death. Rubens was forced to remove these mystical figures and replace them with three generic soldiers.
Also worth noting in this painting is the first appearance of the orb as a symbol of "the rule that embraces all or the power of the state". This particular image seems to carry a significant load in the Rubens iconography program for the cycle, as seen in six (quarter) of the twenty-four painting cycles. This Orb serves both as a reference to Roman orbis terrarum (the sphere of the earth) that signifies the domain and strength of the Roman emperor, and as a subtle affirmation of the French monarchic claim to the crown imperial. While Rubens was certainly aware of the inherent meaning of the ball and used it to great effect, it appears that Marie and his counselors incited the introduction into the cycle to add to the allegory and political glory of events surrounding Marie's district.
Coronation in Saint-Denis
This painting is a representation of historical events in the life of the Queen in which the Kings and Queens were crowned in the Basilica of Saint-Denis in Paris. Considered one of the main paintings in the series along with Apotheosis Henry IV and the District Proclamation both also show Marie de 'Medici receiving the ball of the country. He was taken to the altar by Cardinal Gondi and de Sourdis, who stood with him along with Mesieurs de Souvrt and de Bethune. The ceremony was inaugurated by Cardinal Joyeuse. Royal troupe including Dauphin, Prince Conti with crown, Duke of Ventadour with royal scepter, and Chevalier de VendÃÆ''me with Justice hand. Princess of Conti and Duchess of Montpensier (mother of her daughter-in-law) carrying a royal coat train. Above in the stand appears Henry IV, as if to impose sanctions for the event. The people below in the basilica raised their hands in the acclamation of the new Queen, and above, the classic personification of Abundantia and Victorian winged watering thanks to peace and prosperity over Marie's head by pouring Jupiter's gold coins. Also, her pet dogs were placed in the foreground of the painting. Rubens inspiration for blue coronation orbon emblazoned with golden lilies is a presentation medal of Guillaume Dupres who was beaten in 1610 at the request of Marie who portrayed her as Minerva with Louis XIII as Apollo-Sol. Symbolism brings the message that he is accused with the guidance of a young king who is coming soon.
Henry IV's Death and District Proclamation
Sometimes also referred to as The Apotheosis of Henry IV and The Proclamation of the Regency , this particular painting in the Medici Cycle as a whole, originally placed by Rubens as series three. The other two have the same design size, it is consigned as the middle painting in various fake forms while decorating the spaces of Marie de 'Medici's Palais du Luxembourg.
The painting is separated into two distinct scenes, but related: the elevation of Henry IV to the sky (his assassination on May 14, 1610 produced a direct declaration of Marie as a regent) and Marie's assumption to the crown.
On the left, Jupiter and Saturn are shown to welcome the murdered King of France, as he rises as a personified Roman sovereign, winning against Olympus. Like all Ruben's allegorical paintings, these two figures were chosen for a reason. Jupiter is meant to be the king's heavenly partner, while Saturn, representing limited time, is a final indication of Henry's mortal existence. This particular theme, in the painting as a whole, has found other great teachers who received inspiration and interest from Bellona's tortured figure by Rubens, the goddess of war, who disarms below. Post Impressionists, Paul CÃÆ' © zanne (1839-1906) registered permission to transcribe the goddess ten times. Keep in mind that the energetic way of Rubens puts all these allegorical themes substantially generated from classic coins as documented in communications with his friend and prominent antique collector, Nicolas-Claude Fabri de Peiresc. The right side of the panel shows the succession of the new Queen, wearing a solemn outfit suitable for a widow. He is framed by a triumphal arch and surrounded by people in court. The Queen receives a ball, a symbol of government, of French personification while people kneel before her and this scene is a great example of fact-magnifying facts in the cycle. Rubens emphasized the idea of ​​the District offered to the Queen, even though she actually claimed it on the same day that her husband was murdered.
Noteworthy is the contemporary inspirational influence on Rubens for the right side of this painting. Although originally started but may or may not have been completed in Rome, Caravaggio Madonna of the Rosary may have been an artistic influence on Rubens for this painting County Proclamation side, as both work very well in their presentation. Through a causal relationship, this painting will be available to Rubens and thus makes sense because its influence exists in Rubens' own genius on the canvas. In comparison, there are in each, two women above the classical pillars of dais, fancy fabrics, people who multiply themselves with outstretched arms, and allegorical figures are present. In the paintings of Rubens, Minerva, Prudence, Divine Providence and France; in Caravaggio, St. Dominic, St. Peter the Martyr, and a pair of Dominican monks. Also present in each are importer goods : steering, world, and rosary. All this and more, joined to make persuasive arguments and pointed out a certain artistically appropriate nod from Rubens to Caravaggio as two contemporaries at the time.
The Council of the Gods
This painting commemorates Marie taking over the government as a new regent, and promoting a long-term plan for peace in Europe through marriage between royal houses.
Cupid and Juno tied two pigeons together over the split ball in the painting as a symbol of peace and love. Marie hopes her son, Louis XIII, married Infanta Anne of Spain and her daughter, Elizabeth, to marry the future Spanish king, Philip IV, who may produce an alliance between France and Spain. For Marie de Medici, these associations may be the most important part of his administration, because peace in Europe is Marie's greatest goal.
The Council of the Gods is one of the least understood paintings of the Marie de 'Medici cycle . It represents Queen's behavior and the great attention she uses to oversee her Kingdom during her reign. For example, how he overcame rebellion and state disruption. It also shows that he perpetuated the policy and ideals of the late King in his life and in death. The subject of the painting is placed in a celestial setting that does not give way to a specific place, time, or event. This scene is painted with various mythological figures. This, along with its difficult arrangement to know the job subject. Mythological figures include Apollo and Pallas, who fight and overcome bad traits like Discord, Hate, Fury, and Envy on the ground and Neptune, Pluto, Saturn, Hermes, Pan, Flora, Hebe, Pomono, Venus, Mars, Zeus, Hera, Cupid , and Diana above. Mythological and celestial figures act as allegories for Marie's peaceful reign over France.
Milit Regent: Victory at JÃÆ'¼lich
The Victory at JÃÆ'¼lich shows the only military event that the Queen attended during her reign: the return of JÃÆ'¼lich (or Juliers in French) to the Protestant princes. Being a Ruhr crossing, Juliers was strategically important for France and thus the victory of France was chosen to be the noble subject of Rubens' paintings. The scene rich with symbolism highlights her heroism and victory. The Empress held her arms high with an assembler stick in hand. At the top of Victoria's picture appears crowning it with laurel leaves which is a symbol of victory. Also symbolizing victory is the imperial eagle that can be seen in the distance. Eagle in the sky forces a weaker bird to escape. The Queen was accompanied by the female embodiment of what was once considered, Luck by the lion beside her. However, the figure is Magnanimity, also referred to as Generosity, because of the wealth held in the palm of his hand. One of the pieces in his hand is the precious Queen of pearls. Other figures include Fame and Austrian personification with lions. The fame on the right side of the painting pushes the air through the trumpet so strong that the smoke bursts out. In the paintings of Marie de 'Medici highly decorated and won after the collapse of a city, he is pictured across the white horse to show that, like the deceased King Henry IV, he can win over rivals in battle.
Girls' Exchange
The Women's Exchange to celebrate a double marriage of Anna Austria to Louis XIII of France and sister of Louis XIII, Princess Elisabeth, for the future king of Spain, Philip IV on 9 November 1615. France and Spain present the young daughter, assisted by a young man who is probably Hymen. Above them, two putti hymeneal swinging hymns, a little zephyr breeze blowing warm spring and propagate roses and winged putti circle butterflies surround Felicitas Publica happy with the caduceus, which showered the couple with gold from the many. Below, the river is filled with sea-god Andaye come to pay homage to the bride: Andaye river god resting on his urn, a Nereid crowned with pearls offer a string of pearls and coral as a wedding gift, while triton blowing conch to mark the event. Marriage, which is considered to secure peace between France and Spain, takes place in a floating amid Bidassoa River, along the French-Spanish border. In Ruben's portrayal, the princesses stood with their right hand joined between French and Spanish personification. Spain with the lion symbol that can be recognized in his helmet on the left, while France, with a fleur-de-lis that decorate the curtains, is on the right. Anna, at the age of fourteen years older than the two, returned as if taking a Spanish leave while France gently pulled her with her left arm. In turn, Spain can be seen taking the thirteen-year-old Elisabeth on her left arm.
Purity District Marie de 'Medici
This particular painting in the Marie de 'Medici Cycle is worth noting for its uniqueness in its execution. While other paintings were completed at the Rubens studio in Antwerp, The Felicity District Marie de 'Medici was designed and painted entirely by Rubens in place to replace another, much more controversial portrayal of Marie 1617 expulsion from Paris by his son Louis. Done in 1625, this is the last painting in the cycle in terms of chronological order of completion.
Here Marie is shown in allegory mode as the personification of the Judiciary itself and is flanked by escorts from some of the main personification/gods in the Greek and Roman pantheon. It has been identified as Cupid, Minerva, Prudence, Abundance, Saturn, and two Pheme figures, all indicated by their traditional attributes, all conferring their bounty on the Queen. (Cupid has darts with caution to bring snakes wrapped around his arms to show wisdom like snakes: Abundance also comes with the number of trees, as well as references to the fruits of Marie's district Minerva, the goddess of wisdom, carries helmets and shields and stands near Marie's shoulder, denotes his wise rule Saturn has a sickle and is personified as Time here guides France forward Fame brings trumpets to mark the occasion.) This personification is accompanied by some allegorical figures under the guise of four sons and three defeated beings (Envy, Ignorance, and Vice) as well as a number of other symbols used by Rubens throughout the painting cycle.
Although this particular painting is one of the most straightforward in this series, there is still some minor debate about its significance. Rather than accept this as Marie's portrayal of Justice, some argue that the real subject of the painting is "the return of Astraea earth, the principle of divine justice, in the golden age." They support this claim with a statement in Rubens' notes indicating that "this theme has no specific reference for certain reasons of the state of the French empire." Certain symbolic elements, such as oak leaf (possibly corona civica), France is seen as a subdued province, and the entry of Saturn in the scheme may all point to this interpretation and certainly will not be lost in Rubens. Fortunately, and perhaps solely because of the controversy surrounding this painting, Rubens mentions its meaning in a letter to Peiresc dated May 13, 1625. It reads,
I believe I am writing you that the image has been removed which describes the Queen's departure from Paris and that, in her place, I do a completely new one showing the flow of the French Empire, with the revival of science and art through the liberty and majesty of His Holiness, who sits in on a throne that shines and holds a scale in its hands, keeps the world in equilibrium with its wisdom and justice.
Considering the rush with Rubens completing this painting, the lack of specific reference to the golden age of his letter, and the existence of some of Marie's contemporary depictions as a Justice, most historians are satisfied with simpler allegorical interpretations that are more consistent with both the Rubens style and the rest of the cycle.
It is believed that the original painting mentioned in the letter describing Marie's departure from Paris was rejected for The Felicity of the Regency because the subject is more innocuous than the last. Rubens, in the same letter, goes on to say,
"This subject, which does not touch on any particular political considerations... of this government, nor does it refer to any individual, has been well received, and I believe that it has been entrusted entirely to me the business of the other subjects will be more good, no scandal or grumbling. "
Here, we can see evidence of Rubens' style of adaptability that made his career so successful. His willingness to fit his ideas with those of the patron made him the perfect tool for taking responsibility for such a highly complex and highly anticipated subject.
Louis XXI Comes of Age
The painting Louis XIII Comes of Age represents the historical scene of abstract, alegory, or abstract power transfer of power from mother to child. Marie had reigned as a bupati during her son's youth, and now she had handed the steering wheel to Louis, the new king of France. The ship represents the country, now operating as Louis steers the ship. Each rower can be identified by a symbol shield that hangs on the side of the ship. The second rower's shield depicts a burning altar with four sphinx, a circular snake and a visible open eye downward. This characteristic is known as Piety or Religion, both of whom Mary wants her son to make it happen. What is also known as the boat parade, Rubens Horace boat reference, decorated with dragons in front and dolphins in the stern. Louis looked up to his mother for guidance on how to steer the state ship. In the violent cloud there are two Fames, one with a Roman buccina and the second with what appears to be a trumpet. Louis guides, while the actual movement of the ship is due to four rowing figures, personifying the Force, Religion, Justice, and Concord. The figure adjusting the screen is considered Prudence or Temperance. In the center in front of the French standing pole, with a flame in his right hand that depicts the fortitude and globe, or ball of government, to his left. Forcing, extending the paddle and swinging to, identified by the shield just below it shows the lions and columns. She is paired with Marie with their hair color, and also Louis is paired with Religion, or the Order of the Holy Spirit. Marie's partner with Force gives strength to the queen's image, while Marie's pose is actually more passive, demonstrating very effectively the graceful recognition of his son's authority for the next. This is an interesting painting to be examined in the context of a tense relationship between the young king and his mother. Marie had held power past the end of her reign, until Louis seized power in 1617 and exiled him to Blois. Rubens would obviously know this and chose to ignore the tension around Marie's relationship with her son, instead of emphasizing her composure in the transfer of power.
Flights from Blois
The flight from Blois is a portrayal of Queen Marie who escaped from her confinement in Blois. The Queen stood with a dignified attitude, showing her calmness in times of turmoil, among the throngs of broken ladies and soldiers. He is led and protected by a French representation, and guided by night and Aurora illustrations. They are used literally to describe the actual time of the event and protect the queen from the audience as they illuminate his path. Rubens describes the scene of the show in a more heroic realm than showing the accuracy of realistic elements. According to the historical record of the Queen's escape, this painting does not really reflect the moment of the occurrence. Rubens did not include many negative aspects of the event, fearing that he would offend the Queen, which resulted in the paintings being unnatural. Queen Marie is described in a simple way, but the illustration shows her strength over the military. He did not reveal any difficulty he experienced through the escape. The male figure in the foreground reached him unknown. Larger numbers in the background represent the military, which is added to have a symbolic meaning of Queen's conviction in command over the military.
Negotiations in Angoule
In the Negotiations at AngoulÃÆ'ªme Marie de 'Medici graciously took the olive branch of Mercury, the messenger deity, in the presence of his two pastors, as he gave his consent to discuss with his son about the impact on his government. Rubens used several methods to describe Queen Marie appropriately the light she wanted to see, as her son's guardian and wise counselor. Enthroned on a pedestal with statues of the symbols of Minerva's wisdom and the two putti who greet the victory to represent victory and martyrdom, Marie de 'Medici's representation is quite clear. Her humble yet all-purpose gaze conveys the wisdom she holds. He was also placed complementarily in a tight group and united with the cardinals, signifying a side of truth opposed to Mercury's vilification. Rubens gave Merkury an improper impression by depicting her figure hiding caduceus behind her thighs. The effects of these two groups of numbers are intended to emphasize the gap between the two sides. Rubens also added a barking dog, a general reference used to show or warn someone from a stranger who came with malicious intent. All of these symbols, Rubens is shown in this ambiguous and enigmatic painting to represent or "misrepresent" Marie de 'Medici in a way that describes him as a wise but caring and humble mother of a young and naive monarch. Overall, this painting is the most problematic or controversial, and the least understood of the whole cycle. This picture, once again, Marie claims him from the great authority but remains the first step towards peace between mother and child.
Queen Choosing Security
Rubens's Queen of Choosing for Security represents the needs of Marie de 'Medici for security through the portrayal of events when Marie de' Medici was forced to sign a truce in Angers after his forces were defeated at Ponte-de-Cue. Although the painting demonstrates Marie de Medici's desire for security with representations of the Temple of Security, the evil symbols at bay, and the change of smoke haze becomes clarity, there is also a symbolism underlying anxiety about the acceptance of a ceasefire. The round shape of the temple, as built by the ancients to represent the world, and has an ionic order associated with Juno and Mary himself. The temple defines itself, which also includes a plaque on a niche that says "Securitati Augustae" or For Empress Security. He is shown with a snake of caduceus symbol that has an uneasy movement and a forced escort of the queen by Mercury to the Peace Shrine gives a strong feeling of not being defeated. It is also arguable that the painting is not really about peace or security, but a truly unyielding spirit that does not give up. Since he is a holy power, he is described heroically in a classical setting using the neoplastic hierarchy and visual cues of light on his face. This ultimately implies that the allegory of Marie de 'Medici is an apotheosis. In addition, the inclusion of two different personifications of the Guidance of Peace in the fact that Rubens wants to confuse or make the audience interested to look deeper into this particular painting as a whole.
Reconciliation between Queen and Son
The Return of the Mother to His Son weakly holds the alternative title of Full Reconciliation with the Son after the Death of the High Police until the nation's temperament is judged. Many headed hydra struck a fatal blow by Divine Justice as witnessed by the Divine, a theme based on classical seventeenth-century metaphor for insurrection. Here the monster stood in front of the dead Constable de Luynes who had met his destruction in the hands of a feminine Saint Michael. The death of 1621 from the falconer turned into supreme commander may have increased the tension between mother and child, but Conde, considers the most dangerous enemy of Marie de Medici to step quickly in to fill the gap. Ruben's deliberate ignorance will be consistent with the practice of generalizing and allegorizing historical facts, especially in a painting of peace and reconciliation. Marie, wanting to justify the death of her close personal companion, Concino Concini, is likely to direct a more direct personal metaphor to Constable de Luynes, but Rubens prefers to keep allegory, avoiding the specifics that would later be embarrassing. The artist chooses the high road, relying on the visual language of Ripa, to describe a scene in which virtue defeats evil and embraces peaceful reconciliation that makes little more than an allusion to a vague political assertion.
It is not difficult to imagine a scapegoat being abused as Luyens as a man suffering divine punishment and thrown into a hell hole while bearing all the blame for the hostility between Louis XIII and his mother. In this painting, Louis XIII, represented as an adult, is described as Apollo. The death of hydra is not in Apollo's hands as expected. Instead, it is left to a vision/fate like Amazon. With the removal of the scales he brought in his previous sketches that would link him to Louis XII, we were left with an unaided entity from Louis, killing the enemy when he seemed to forget and did not care. However Marie de 'Medici, appears as a loving mother, ready to forgive all the evil and suffering experienced.
Victory of Truth
The last painting of the cycle, The Triumph of Truth , is a pure depiction of allegory of King Louis XIII and his mother, the Queen, reconciled before heaven. The Queen and Louis XIII are depicted floating in heaven, linked to the symbol of concordia, which shows their son's forgiveness and the peace achieved between them. Below, Saturn takes Veritas to a heaven that symbolizes the truth, "brought to light," and reconciliation between the Queen and her son. Time and Truth illustrations occupy almost 3/4 of the lower canvas. The top of the canvas is filled with rendering of Marie and her son. In composition, Marie is described larger than her son and occupies more space. Her larger, less obscured body is rotated forward in the plane of the image, which emphasizes her importance. His interests were highlighted by the same height as his son, the King. His son, who was partially obscured by the Wing of Time, knelt in front of the queen and presented it with an amity signature, a bonded hand and a heart burning in the laurel crown. Compensationally, Rubens gives the queen more importance in this panel through the use of gestures and gazes. In the work, Truth gestures towards the Queen while Time looks up at him from below. Both figures ignore the King. Rubens artfully projects mother and daughter into the future, describing them as older and mature than in the previous panel (Peace Confirmed in Heaven). It is at this point that the Medici Cycle turns into the subject of the Empress Mother's government. With the death of Louis's court son, Charles d'Albert de Luynes, mother and son reconcile. Marie received final justification by being accepted back to the State Council in January 1622. This picture symbolizes how time unfolds the truth in correspondence with the relationship between Marie and her son.
The last painting coincides with Marie's interest in politics after the death of her husband. He believed that diplomacy should be obtained through the marriage and marriage of his daughter Henrietta Maria with Charles I who accelerated the completion of the Medici Cycle.
The Portraits of The Queen's Parents
The other three paintings are portraits of Marie de 'Medici, his father Francesco I and his mother Johanna from Austria. On both sides of the fireplace in the gallery are portraits of the Queen's parents. Portrait of the Queen's father, Francesco I, is on the right and facing the hallway to Marie de 'Medici's private room. Francesco I is depicted in an ice-coated mantle with a cross on his neck that represents the Tuscan order of St. Stephen founded by his father. Portrait of the Queen's mother, Johanna from Austria, is on the left in the place where the visitors enter. She is shown in a silver dress with gold embroidered and does not wear anything that shows her honorable background. The model, or overall design, for this Johanna of Austria portrait returned to the painting by Alessandro Allori which was later copied by Giovanni Bizzelli. Rubens must have seen these paintings and therefore influenced his own style to portray the Queen's mother. Although, surprisingly, the Ruben version is considered even less remarkable than the model. This portrait of Johanna of Austria as a whole is an unresponsive picture of a woman. He set aside the traditional 16th-century hierarchy of hierarchies for casual interpretation, where he wore regular curtains and Rubens adorned him in a state of always sickness and weakness. On the contrary, no model for the Queen's father's portrait is known, although it is questionable whether he used the ideas of one of Parisians, where he wanted to convey the authoritative appearance of the historical figures. In particular, Fracesco and Ferdinando de Medici statues. Both portraits are very different, and even out of place, from the rest of the paintings in the gallery. Her parents 'paintings in Marie de' Medici's reception room look bleak compared to Marie's portrait, where she looks beautiful if not carelessly. Although Rubens used many allegorical drawings in most of the paintings in the gallery, the Queen's two portraits were complementarily straightforward and unremarkable being executed. In addition, they are considered far from the "similarities" of both caregivers.
Henry IV Cycle
The original commission for the Marie de 'Medici cycle included an associated gallery depicting Henry IV's never-ending life, although Rubens began working immediately after he completed the Marie de' Medici cycle. Henry's cycle summons the twenty-four monumental scenes of Henry's life which describes "the encounter he did, the battles, the conquests, and the siege of the cities with Victory triumph." Marie and Henry's separate wings are designed to meet in an arcade that will unite the two galleries. The paintings from each gallery will be exhibited as an integrated couple, bringing together all forty-eight scenes.
It appears that Rubens did not sketch the Henry IV cycle when he was involved with the first gallery. In one of his letters, the artist describes the theme as "so great and extraordinary that it will be enough for ten galleries". Judging by other statements about it on January 27, 1628, he was not much involved in sketches before that date. From the oil sketches that were executed later by him, only nine survived, along with five large unfinished canvases. Most of the sketches represent the actual battle in which Henry was involved, such as The Capture of Paris.
It is important to note that the reason for not completing Henry IV's cycle is related to current political events. Marie de 'Medici was banished from Paris in 1631 when Cardinal Richelieu gained control over Louis XIII. As a result, the project was completely abandoned because of the approval of the plans for galleries that were repeatedly postponed by French courts. Richelieu, now in full control of the cycle, refused to speak to Rubens about completing the Henry Gallery based on the falseness that he was taking care of state affairs. The true motivation of Richelieu is likely to be political. During this time, Rubens was in Madrid preparing for a diplomatic mission to London, working towards a match between Spain and England. Artists assigned to be active in opposing political parties are Richelieu's reason for refusing. Thus he actively sought out Italian artists to replace Rubens, which resulted in Rubens only sporadically continuing his work. After Marie's expulsion in 1631, the project must be completely abandoned, which seems a parody seen as Rubens is very optimistic about the project and its impact on his career; "I have now started another gallery design that, in my judgment, for its basic nature will prove more beautiful than the first so I hope I better get [the reputation] rather than refuse."
An important sketch of the collection is the so-called Reconciliation of King Henry III and Henry of Navarre - an important event for the rise of Henry IV to the throne. After the death of duke Anjou, brother of King Henry III who had no children, the obvious heir is Henry of Navarre (future of King Henry IV). However, when the papal bull denied the throne and ostracized him, Henry of Navarre protested, beginning the Three Henry War. When Henry III was also ostracized from Paris for commencing the murder of the duke of Guise, he met Henry of Navarre for peace and recognized him as a legitimate heir. Although Rubens describes this reconciliation taking place in the throne room, contemporary reports noted that it was actually in a park full of spectators. The sketch shows Henry of Navarre bending over to Henry III, who, according to an acclaimed eyewitness, is accurate. Rubens represented the putto who took the crown of Henry III, with the intention of placing it in the future of Henry IV, although the actual transfer of power did not take place until the assassination of Henry III a few months later (1 August 1589). A yard stands behind Henry of Navarre holding his personal badge: a white helmet, while the dog at his feet symbolizes loyalty. Two bad figures behind Henry III most likely represent the personification of Fraud and Dispute.
Henry IV's cycle is planned to consist of scenes from the military career of the king. The violence of these images will be in stark contrast to the relative and peaceful quality of the scenes in the Marie de 'Medici cycle. The Battle of Ivry in the East Wall gallery is Henry's most decisive battle scene to unite the city of Paris. Particularly gray, the sketches show the king with red velvet to stand on "the most famous of all the battles of Henry IV." She is shown in the middle of the scene raising the blazing sword. His triumphant troops rushed chaotic behind him; horse and rider maintenance fell. This painting corresponds to the Coronation painting in the Marie de 'Medici cycle.
The Triumphal Entry into Paris is the culmination of the North End of the gallery. Being the last battle of the king's last battle, this serves as the optimal location. Rubens wanted him to be at the end of the gallery as a "big and important" part with sophisticated execution. The painting shows Henry showing off to Paris as the victorious Roman emperor holding the olive branch, a symbol of peace. However, since Henry never actually entered Paris in this way, the scene should only represent a symbolic victory. Action and peng
Source of the article : Wikipedia
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