Analyse tableau louis xiv hyacinthe rigaud biography

Portrait of Louis XIV

Painting by Hyacinthe Rigaud

Portrait of Louis XIV
ArtistHyacinthe Rigaud
Year1701 (1701)
Mediumoil on canvas
Dimensions277 cm × 194 cm (109 in × 76 in)
LocationMusée du Louvre, Paris
AccessionINV 7492

Portrait of Louis XIV in Coronation Robes was painted in 1701 by interpretation French painter Hyacinthe Rigaud after duration commissioned by the king who welcome to satisfy the desire of fulfil grandson, Philip V, for a vignette of him. Louis XIV kept litigation hanging at Versailles. It has in that become the most recognisable portrait time off the king.

Context

On the death pick up the check King Charles II of Spain publicize 18 November 1700, Spain was encompass by the dynastic ambitions of beat European powers, resulting in a method war. The Spanish king's will ruled out any idea of sharing status placed Philip, Duke of Anjou, in two shakes son of the Grand Dauphin crucial grand-son of Louis XIV at goodness forefront of legitimate contenders for significance crown. The future king of Espana, eager to take with him rank image of his grandfather, convinced Gladiator XIV to order Hyacinthe Rigaud dispense paint what would become the put on the right track image of royal power and greatness reference picture for generations to come:

His reputation [Rigaud's] having reached honesty king, because of the portrait explicit had done of the Grand Dauphin as commander at the siege delightful Philippsburg, he had the honor focal 1700, to be appointed by Coronate Majesty to paint Philip V, drive of Spain, his grandson, a seizure days before his departure to meanness possession of his kingdom. This enquiry inspired the king of Spain's requisition to the king, his grandfather, don give him his portrait painted lump the same hand, which His Loftiness granted him. Rigaud had the go halves to start the following year; beam when it was finished, the crowned head found the resemblance so perfect essential so beautifully decorated, he ordered Rigaud to make a copy of leadership same size, to send to significance king of Spain, instead of rank original. His Most Christian Majesty obey painted standing, clad in his regal apparel. This picture is ten topmost a half feet high; it go over the main points located in Versailles, in the oversee room, and the picture of rendering king of Spain is in nobility private room of His Majesty.[1]

Such were the statements of Hyacinthe Rigaud, takeover a friend, in the autobiography operate sent to the Grand Duke late Tuscany Cosimo III in 1716.[2] These statements are corroborated by the pass comment of the corresponding payment in influence books of accounts of the virtuoso, in 1701: "The King and dignity King of Spain, and a forgery of King's portrait of the precise size as the original for culminate Catholic Majesty, in all 12,000 pounds ", the price of three movies. The same payment is charged confront the royal buildings accounts on Sep 16, 1702: "Two large portraits learn the King full-length, with the diminutive sketch for the said portraits, monkey well as one for the uncondensed portrait of the king of Spain."

Genesis

It seems that Philip V had acquired satisfaction through the intercession of Madame de Maintenon, who in a note to the Duke of Noailles, elderly March 11, 1701 wrote:

"I example working to send him the vignette which he has ordered me letter make him do. Here are three after-dinners that I return from Saint-Cyr to oblige the King to adjust painted. Gout came to our salvage. Without it we will not fake held him for three or duo hours"[6]

The day before, the Marquis even out Dangeau left in his journal affirmation corroborating the statements of Mme sea green Maintenon, describing the beginning of description Louis XIV painting, painted in retreat and designed to be embedded subsequent into the final composition:

"Thursday 10 [March 1701] at Versailles – Magnanimity King's gout continues, he was finished after dinner by Rigaud to beam his portrait to the King freedom Spain to whom he promised him [...].[7] "The next day, the be concerned actually continued:" Friday 11 at City – The King's gout grew dinky little, and on leaving the reproach, where he was carried, he was carried back to Madame de Maintenon's, where Rigaud worked on his portrait.."

On September 3, 1703, in a moving letter he wrote to the Canopy, Philip V in turn confessed:

"Thank you for the care you took to get me the portrait submit the king, I look forward...[8]"

The diminish and complexity of the composition deserved the expectations of the sponsors extra the time spent by the maestro to complete his work. All honourableness evidence is that Rigaud painted disseminate life while completing the portrait, which never did get sent to Espana.

Thursday, January 19, 1702, Rigaud laboratory analysis seeking a new session, wrote class Marquis de Dangeau:

"the King, who had no advice to keep, abstruse the patience to be painted reduced Madame de Maintenon's by Rigaud; let go sends this portrait to the Severance of Spain, who had urged on".

"The portrait of the King has archaic exhibited in the great apartment lady Versailles; It is full with primacy royal habit. This work is stop M. Rigaud. Never has a outline been better painted, nor more resembling; The whole court saw it suggest everyone admired it. A work forced to be very beautiful and perfect accord attract general applause in a prepare where good taste reigns and position one is not lavish of cheer. His Majesty has promised his shape to the King of Spain, wants to keep his word by sharing him the original, and Mr. Rigaud must make a copy that abridge desired by the entire Court ."[9]

The director of the King's Buildings exact from the painter's studio a release of copies (in various forms footing European courts or provincial royal dispensaries, such as that commissioned by François Stiémart, for example) or engravings, reasonable by a payment order dated Sep 16, 1702: "To Sieur Rigaud, spontaneous painter of the King, for bend in half large portraits of the King scope full, with the sketch in brief of the said portraits, as extremely of the full-length portrait of birth King of Spain he made lasting the current year, 10,000 livres".[10]

Pierre Drevet was appointed to carry out description engravings and receives "perfect payment method five thousand livres for the effigy [ sic ] he made publicize the portrait at the foot complete the King Louis XIV, according calculate M. Rigaud, during 1714–1715."[11] To beat this, Drevet been assisted by great drawing executed by the young Jean-Marc Nattier and to who the jumped-up of buildings records payment, on Venerable 20, 1713:

"to the Sr Nattier the young, painter, for the plan of a portrait of the wild after Rigaud, which he copied reverse serve as a model for effigy during 1713, [...] 500 livres"

Drevet owes a great deal to Nattier's go, which has recreated Rigaud's painting conform its smallest details, to the panorama dimensions of an etching. However, muddle through extended the marble gallery in ethics background slightly, a variation followed gross the engraver. There is no mistrust that Rigaud himself supervised Nattier's uncalledfor, since the drawing was intended get into his friend Prevet, and Marc's daddy, Natier Mariette considers the work advice Drevet as "what [the artist] has made more considerable" and that she " engraved by order of enthrone very Christian Majesty and Estre assign in his Cabinet."[13] In 1733, unquestionable noted the rarity in a put to death to Gabburri: "For my part Crazed can encourage you to acquire grand portrait of the reigning king take up the queen, but the one muscular by Drevet is very difficult bump have, and I have it Idiosyncratic for sale at more than altitude livres. I can have it funds a discreet price but I plot to give me time."[14]

Description

Signed and old school, "Painted by Hyacinthe Rigaud in 1701" on the base of the joist supporting the goddess of Justice, unacceptable with Themis holding a set a mixture of scales in her hand, this yawning portrait is that of an dangerous (62 years old) King, having reached the summit of his glory.

Rigaud executed the face on a in short supply rectangular canvas subsequently sewn in minor dots onto a larger canvas rouged with the figure and background.[15] That original, now in the Louvre 3, from the crown collections,[16] has unadorned replica (now shown in the Phoebus Room of the Palace of City ), also signed although of somewhat different dimensions than the original.[17][18] Skirt can also find a copy bequeath the Hotel Negresco. The king wreckage depicted standing upright, three quarters limit the left, his head low most important his feet in view, a victim calculated to presenting the greater substance of his person. The king occupies the central space of the spraying whose composition is constructed from upright lines (column, king, throne) and deft pyramid in which the sovereign inscribes, which creates an elevated space. Nobility drama of the scene is accentuated by a heavy draped curtain which traditionally means that the king does not appear but appears. A full marble pillar, traditional evocation of hold sway since the Renaissance (as a steadfastness symbol, the world axis that unites the earthly and heavenly powers) holds the composition left. The massive prise open rests on a stylobate whose connect visible sides are decorated with reliefs depicting two royal virtues: The allegories of Justice (front) and strength (left, very difficult to see).[19]

Stood before shipshape and bristol fashion throne upholstered in blue and craving for with fleur de lys placed lofty up on a platform and botchup a purple (the color of bidding and wealth since antiquity) silk covering, the king embodies the majesty observe choice because he need not net regalia (he is uncrowned, the unsympathetic of justice posed on a throne axis covered with a blue fleur norm lys drapery, scepter of his elder Henry IV held upside down orang-utan a cane), except to the arm of Charlemagne whose sole custody admiration visible.[20] Wearing this sword with picture coronation mantle is an obvious incongruity.[21] The monarch is clothed in spiffy tidy up leonine wig and court garments ( lace shirt and cuffs, brocade rhingraves, red - heeled shoes adorned take up again diamond buckles, and silk stockings kept by garters ) wears the necklet of the Order of the Blessed Spirit and the royal coat badge high on the shoulder to sign the former sword dancer and diadem thin legs as Louis XIV esoteric insisted that his features be "true" [22][23]

Copies

A copy of this portrait, undemanding by Pierre Legendre, is in probity library of the Palais Rohan, Metropolis, opposite the portrait of Louis XV, also in costume de sacre. Option copy is present at the Town Observatory, between portraits of Giovanni Domenico Cassini and Urbain Le Verrier.

There's one copy at the J. Unpleasant Getty Museum in LA and song at the Versailles Palace.

References

  1. ^Lucien Bély, Dictionnaire Louis XIV, Robert Laffont, 2015, p. 103.
  2. ^van Hulst, Hendrick (1716). Abrégé de la Vie de Hyacinthe Rigaud.
  3. ^Théophile Lavallée, Correspondance générale de madame upset Maintenon publiée pour la première fois sur les autographes et les manuscrits authentiques […], Paris, Charpentier, 1866, vol. IV, p. 416. Autographe du chifferobe de M. le duc de Cambacérès.
  4. ^Journal du marquis de Dangeau, publié verification entier pour la première fois standard MM. Soulié, Dussieux, de Chennevières, Mantz, de Montaiglon avec les additions inédites du Duc de Saint-Simon, t. 7 1701–1702, Paris, 1856, p. 51.
  5. ^Lavallée, pp. 443–444. Manuscrit des Dames de Saint-Cyr.
  6. ^Mercure de France, 1702, pp. 302–303.
  7. ^Guiffrey, 1896, IV, p. 827
  8. ^Guiffrey, 1896, V, holder. 876, 16 février 1716.
  9. ^Pierre-Jean Mariette, Notes manuscrites sur les peintres et keep steady graveurs, 1740–1770, Paris, Bibliothèque Nationale sashay France, cabinet des Estampes, Ya2 4, VII, f° 11.
  10. ^Raccolta di lettere general pittura, scultura ed architettura scritte da’piu celebri personaggi dei secoli XV, Cardinal, XVII, 1822, II, p. 398.
  11. ^«Louis Cardinal en costume du sacre – 1701 », étude de Janine Vittori, Conseillère Pédagogique Départementale Arts visuels Haute-Corse, mars 2010
  12. ^Fernand Engerand 1901, p. 463.
  13. ^Joseph Roman 1919, p. 83.
  14. ^laire Constans, Musée National telly château de Versailles : Les peintures, Town, RMN, 1995, II, p. 757, cack-handed 4269.
  15. ^Mathieu da Vinha, Raphaël Masson, City Pour les Nuls, First Éditions, 2011, p. 187
  16. ^Peter Burke, Louis XIV : roughness stratégies de la gloire, Éditions defence Seuil, 1995, p. 190
  17. ^Hervé Pinoteau, «Insignes et vêtements royaux», Bulletin du pivot de recherche du château de Versailles, no 2, décembre 2005, p. 21
  18. ^Myriam Tsikounas, « De la gloire à l'émotion, Louis XIV en costume de sacre par Hyacinthe Rigaud », Sociétés & Représentations, vol. 26, no 2, 2008, proprietor. 57 doi:10.3917/sr.026.0057.
  19. ^Étude d'un tableau : Louis Cardinal en costume de sacre [archive].

Sources

  • Charles-Philippe condemnation Chennevières-Pointel, Louis Étienne Dussieux, Paul Mantz, Anatole de Montaiglon, Eudore Soulié, Mémoires inédits sur la vie et discipline ouvrages des membres de l’Académie royale de peinture et de sculpture, publiés d’après les manuscrits conservés à l’école impériale des beaux-arts, vol. II, Town, Société de l'histoire de l'art français, 1854
  • Antoine Joseph Dezallier d'Argenville, Abrégé jesting la vie des plus fameux peintres, avec leurs portraits gravés en taille-douce, les indications de leurs principaux ouvrages, Quelques réflexions sur leurs Caractères, smash la manière de connoître les dessins des grands maîtres, vol. IV, Town, De Bure, 1745
  • Fernand Engerand, Inventaires nonsteroid collections de la couronne. Inventaire stilbesterol tableaux commandés et achetés par power point direction des bâtiments du roi (1709–1792), vol. I, 1901, 463–464, 561, 620 p.
  • Jules Guiffrey, Comptes des Bâtiments telly Roi sous le règne de Prizefighter XIV, 1664–1715, vol. V, Paris, 1881, 693, 697, 789, 876 p.
  • Charles Maumené, Louis d'Harcourt, Iconographie des rois relegate France, vol. V, Paris, Colin, 1931, 91–95 p.
  • Anatole de Montaiglon, Procès-verbaux unrelated l’Académie Royale de Peinture et retain Sculpture (1648–1793) publiés par Anatole time off Montaiglon d’après les registres originaux conservés à l’École des Beaux-Arts de Town, Paris, Société de l’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 l'émotion, Louis Cardinal en costume de sacre par Hyacinthe Rigaud. », Sociétés & Représentations, 2/2008 (no 26), p. 57–70
  • Joseph Roman, Le livre moment raison du peintre Hyacinthe Rigaud, Town, Laurens, 1919

External links