[124], The Henry IV cycle was planned to be composed of scenes from the king's military career. The Queen stands in a dignified manner, suggesting her poise in times of disarray, amongst a chaotic crowd of handmaidens and soldiers. Wikipedia. The lions pull the chariot (which is a pun on the name of the city), and in the chariot we see the allegorical figure of the city herself with a crown of her battlements: Lyons. Consider, for example, the Disembarkation at Marseilles, where everyone has eyes only for the voluptuous Naiads, to the disadvantage of the queen who is being received with open arms by France" [50], This painting allegorically depicts the first meeting of Marie and Henry, which took place after their nuptials by proxy. Thanks for your time! Direct link to CielAllen08's post Is there a book about Kin, Posted 7 years ago. Cranbury, New Jersey: A.S. Barnes and Company, 1968, Saward, Susan. Dancy Mason is the Editor-in-Chief at Factinate. From the time of her marriage to Henri IV, the Queen practiced ambitious artistic patronage, and placed under her protection several painters, sculptors and scholars. [13] Although the King could have easily banished his mistress, supporting his wife, he never did so. [54] As a Flemish painter Rubens includes a dog in the painting, alluding to fidelity in marriage. [79] Other figures include Fame and the personification of Austria with her lion. Well, no one was laughing at what came next. The king was pleased with her looks, and upon meeting her was impressed even more by her, than with her portraits. After Marie became Queen of France in 1610, she began a ruthless reign of cruel betrayals, shocking violence, and overweening ambition. There's something about the family structure that encourages secrets. Sadly, Henrys breathtaking acts of cruelty knew no bounds. Summary []. Nevertheless, Marie's rule was strengthened by the appointment of Armand Jean du Plessis (later Cardinal Richelieu)who had come to prominence at the meetings of the Estates Generalas Secretary of State for Foreign Affairs on 5 November 1616. Marie was one smart cookie, though: Not only did none of the conspiracies work, she somehow managed to grasp even more power with each revolt. This orb functions both as an allusion to the Roman orbis terrarum (sphere of earth) which signifies the domain and power of the Roman emperor, and as a subtle assertion of the claim of the French monarchy upon the imperial crown. The most visible works from this angle were The Coronation in Saint Denis and The Death of Henry IV and the Proclamation of the Regency. She took a strict approach to parenting Louis, which was saying something for the time. In particular, she tried to attract several large-scale artists to Paris: she brought in The Annunciation by Guido Reni, was offered a suite of Muses painted by Giovanni Baglione, invited the painter Orazio Gentileschi (who stayed in Paris during two years, during 16231625), and especially the Flemish painter Peter Paul Rubens, who was commissioned by her to create a 21-piece series glorifying her life and reign to be part of her art collection in the Luxembourg Palace. The painting Louis XIII Comes of Age represents the historical scene of the transferring of power from mother to son in abstract, or allegorical means. In 1578, when Marie was just three years old, her heavily pregnant mother Joanna fell down a flight of stairs, accidentally killing herself and her unborn child. [14] Rubens painted extravagant images of the Queen Mother surrounded by ancient gods and at times even deified her using these devices. Marie served as regent of France between 1610 and 1617 during the minority of her son Louis XIII. [39] It can be interpreted that the combined efforts of these divine teachers represent Marie's idyllic preparedness for the responsibilities she will obtain in the future, and the trials and tribulations she will face as Queen. [57], Also worthy of note in this painting is the first appearance of the orb as a symbol of the "all-embracing rule or power of the state". [103] Marie, desiring vindication for the death of her close personal friend, Concino Concini, would likely have intended a more direct personal allusion to Constable de Luynes, but Rubens preferring to keep to allegory, avoided specifics that could later prove embarrassing. Well then, off to a great start. [6] This half ends with a depiction of Marie's coronation. WebMarie de Medici was described as both proud and scheming. The violence of these images would contrast nicely with the relative peace and regal quality of the scenes in the Marie de' Medici cycle. They are getting richer, they said, at our expense. After the "Day of the Dupes" (Journe des Dupes) of 1011 November 1630, Richelieu remained the principal minister, and the Queen Mother was constrained to be reconciled with him. How many assistance did he have? [106] With the removal of the scales she carried in an earlier sketch that would have connected her to Louis XII, we are left with an entity who with no help from Louis, slays the adversary as he appears oblivious and unconcerned. [49] On a side note, Avermaete discusses an interesting idea that is particularly present in this canvas. [2] The immortalizing of her life, however, seems to be the most apparent reason for the Queen's choice to commission a painter who was capable of executing such a demanding task. [110] Her larger, less obscured body is turned frontally on the picture plane, which emphasizes her importance. [66] As with all of Ruben's allegorical paintings, these two figures are chosen for a reason. As the most commanding mistress in the French court, she bettered the lives of many and became a beloved figure. [11] At this time, women did not in general receive such laudatory tributes, although Rubens, if anyone, was well equipped for the job, having a great respect for "the virtues of the opposite sex", as seen in his commissions for the Archduchess Isabella. The river god in the picture's right corner is likely an allusion to the Arno River that passes through Florence, Marie's city of birth. I would expect nothing less. The Queen also surrounded herself with portrait painters, such as Charles Martin and especially the Flemish Frans Pourbus the Younger. Pages are cut with intricate patterns that are made to look like lace of the period.[21]. WebMarie believed that after bearing a son, she "would begin to be a queen". This gesture would usually be shared among male companions, telling each other's secret. [119] He was thus actively seeking for an Italian artist to replace Rubens, which resulted in Rubens only sporadically continuing his work. The assassination of her husband in 1610, which occurred the day after her coronation, caused her to act as regent for her son, Louis XIII, until 1614, when he officially attained his legal majority, but as the head of the Conseil du Roi, she retained the power.[1]. Princeton University Press. Thanks for your help! By the time she was a toddler, Marie de Medici had already seen enough of the grim reaper to last a lifetime, but her deepest tragedies were right around the corner. As well see, Henriettes first true volley was a doozy. [41] The painting displays an embellished Baroque collaboration of the spiritual and earthly relationships, which are illustrated in a theatrical environment. From practically the moment she was born in 1575, Marie de Medici didnt mess around. The upper part of the canvas is filled with renderings of Marie and her son. King smitten with the portrait of his bride-to-be (detail), Peter Paul Rubens, The Presentation of the Portrait of Marie de Medici, c. 1622-1625, oil on canvas, 394 x 295 cm (Muse du Louvre). And she was just getting started. She wrote extensively, especially to her children and to other powerful European leaders. Afterwards she was offered an Indonesian rice table by the burgomaster, Albert Burgh. If Marie de Medici wasnt the most obedient wife, she wasnt the most caring mother, either. [108], The final painting coincided with Marie's interest in politics after the death of her husband. Practically her first act as Regent was to seek vengeance on Henriette dEntragues, banishing the bitter mistress from her presence and her court. [92] Louis guides, while the ship's actual movement is due to the four rowing figures, personifying Force, Religion, Justice, and Concord. By 1584, she had lost two more of her siblings, and in 1587, both her father and his new wife passed under mysterious circumstances, likely from poison. "[88] Certain symbolic elements, such as the wreath of oak leaves (a possible corona civica), France being seen as a subjugated province, and the inclusion of Saturn in the scheme might all point to this interpretation and certainly would not have been lost on Rubens. During this time, the Protestants obtained a reprieve of six years to the return of their places of safety to the royal power. One year later (10 April 1578) Grand Duchess Joanna heavily pregnant with her eighth child fell from the stairs in the Grand Ducal Palace in Florence, dying the next day after giving birth to a premature stillborn son. WebMarie de Medici b. [7] They may have been poisoned, but some historians believe they were killed by malarial fever. Although Rubens depicted this reconciliation as taking place in a throne room, contemporary reports recorded that it was actually in a garden full of spectators. Reading from left to right, we see the cityscape with its single hill. [47], Rubens is able to coalesce these characters together into a single united front. Though this particular painting is one of the most straightforward in the series, there is still some minor dispute about its significance. It has been suggested that the allegorical nature of the work would have made Maries usurpation of this and other masculine roles palatable. Jupiter accordingly signifies the allegory of Henry IV, the promiscuous husband. Her humble, yet all-knowing gaze conveys the wisdom that she holds. To add insult to injury, the whole time Henry had been playing White Knight with Marie and sending her love letters, he had been sending almost the exact same letters to Henriette, saying he wanted to kiss her a million times. It only got more tense from there. As for the series of paintings of the kings life, that project never happened. Henry's painting, beginning the West Wall of the gallery, depicts the scenes following the capture of Paris. Seriously girls, this guy? This genera of writing is called the Panegyric. I knew that she was going to take it badly, but I had no idea about the insane lengths she would go to just to get revenge and mess with my life. Rubens owned more prints from his contemporary, Adriaen Brouwer, than any other of his Italian influences or his own contemporaries, although it is suggested that Rubens's compassion and concern for Brouwer's career may have been the influential cause for his collection of Brouwer's work. However, even after Louis came of age at thirteen in 1614, the queen continued ruling in his stead. When Marie finally did land in France and meet her king, it seemed for a (very brief) period that things might turn out well after all. [128] This painting coincides with Apotheosis and Ascendancy in the Marie cycle. A choice example: One day when Henriette happened to bow to Marie, Henry shoved the woman closer to the ground, declaring that she wasnt curtseying low enough. Not only did he further establish and publicize his skill, but also the similarities that exist in his later works, such as stylistic components and themes, undeniably reflect the Medici series. The Dutch were so happy to have her there, they even erected a temporary structure on the Amstel River that contained a tableaux of her image. In the end, he had to settle for 10% less than the agreed (and considerable) sum of 60,000 pounds. 1989. [98] She is shown with the snakes of the caduceus emblem having uneasy movement and the forced escorting of the queen by Mercury into the Temple of Peace give the feeling of a strong will not to be defeated. Although Louis was supposed to be Maries Golden Child, it didnt take long for courtiers to notice that something was seriously amiss with the boy. Her mandate as regent legally expired in 1614, when her son reached the age of majority, but she refused to resign and continued as regent until she was removed by a coup in 1617. In Ruben's depiction, the princesses stand with their right hands joined between personifications of France and Spain. Saturn has his sickle and is personified as Time here guiding France forward. It appears that Rubens did not make any sketches for the Henry IV cycle while he was engaged with the first gallery. Both figures ignore the King. Notwithstanding his desire to give an heir to his dynasty, the new Grand Duke gave his orphaned nephew and niece a good education. The information about the commission in the contract Rubens signed is far from detailed and focuses mainly on the number of pictures in the cycle dedicated to the Queen's life, and is far less specific when it comes to the cycle praising her husband Henry IV. [43] Rubens had a way of depicting France that was very versatile in gender in many of his paintings in the cycle. Louis, who wasnt exactly famous for his sweet disposition in the first place, grew intensely humiliated under mommys thumb, and he got a brutal revenge. Is there a book about King Henry and his future wife Marie de Medici? [73] To Marie de' Medici these unions were probably the most significant part of her reign, for peace in Europe was Marie's greatest goal. In October 1600, Marie and Henry marriedandthe ceremony was bizarre in more ways than one. Jupiter is meant to be the King's celestial counterpart, while Saturn, who represents finite time, is an indication of the end of Henry's mortal existence. Judging by another statement of his on 27 January 1628, he did not engage much in sketching before that date. But soon, a more prestigious suitor presented himself: King Henry IV of France. The remaining three are portraits of herself and her parents. Marie receives ultimate vindication by being re-admitted to the Council of State in January 1622. Well, that tacky-as-heck move set the gossips whispering that Francesco had purposely offed his first wife, though nothing ever came of the rumors. From petty paybacks to insane acts of karma, these bitter people somehow found the most ingenious ways. The hydra's death is not at the hand of Apollo as might be expected. Sometimes also referred to as The Apotheosis of Henry IV and The Proclamation of the Regency, this particular painting within the Medici Cycle as a whole, was placed originally by Rubens as a series of three. Feeling humiliated by the conduct of his mother, who monopolized power, the King organized (with the help of his favorite the Duc de Luynes) a coup d'tat (also named Coup de majest[20]) on 24 April 1617: Concino Concini was assassinated by the Marquis de Vitry, and Marie exiled to the Chteau de Blois. The sixteen paintings that covered the long walls of the gallery measure about four meters tall by three meters wide, the three larger paintings at the end of the room are four meters high by seven meters wide. France urges Henry to turn away from the field of battle, the aftermath of which is visible in the burning town in the background, and attend to hearth and home, for domestic matters are no less important to the survival of the monarchy than military exploits. Rubens wanted it to be at the end of the gallery as a "large and important" piece with an advanced state of execution. He depicts her leaving the ship down a gangplank (she actually walked up, not down, but was illustrated this way by Rubens to create a diagonal element). [17] At first, she kept the closest advisers of Henry IV in the key court positions and took for herself (1611) the title of Governess of the Bastille, although she entrusted the physical custody of this important Parisian fortress to Joachim de Chateauvieux, her knight of honor, who took direct command as a lieutenant of the Queen-Regent. [ 47 ], Rubens is able to coalesce these characters together into a single united front other. 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