WebA figure representing Magnanimity trails behind, while above, Victory readies to place a laurel wreath on her head and Fame blows energetically on a trumpet. [1] The first series of 21 canvases depicts the life of Marie in largely allegorical terms, and was finished by the end of 1624, to coincide with the celebrations surrounding the wedding of her daughter, Henrietta Maria to Charles I of England on 11 May 1625. 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. In the night of 2122 February 1619, the 43-year-old Queen Mother escaped from her prison in Blois with a rope ladder and by scaling a wall of 40 m. Gentlemen took her across the Pont de Blois and riders sent by the Duc d'pernon escorted Marie in his coach. A rainbow extends from the left corner, a symbol of concord and peace. Although, surprisingly, Ruben's version is considered even less remarkable than the models. See, Henrys philandering actually caused huge dynastic worries. You will fare better without it. [3] It has also been suggested that Rubens prepared a number of oil sketches, by the request of Louis XIII, the son of Marie de' Medici and successor to the throne, which may have influenced the Queen's decision to commission Rubens for the cycle by the end of the year 1621. However, even after Louis came of age at thirteen in 1614, the queen continued ruling in his stead. Although Maries uncle Cardinal Ferdinand was at the head of her marriage committee, he gave the young woman an unprecedented amount of choosing power, refusing to force her hand into a marriage agreement. Above the two stands Hymen who unites them. Bet she loved that. And then she came back with a vengeance. Her favorite move was to use painters to decorate her lavish palaces, including when she hired the Flemish painter Ambroise Dubois to do up her apartments at the Palace of Fontainebleau. By representing Marie as Juno, implying Henry as Jupiter, the king is seen domesticated by marriage. The first painting of the narrative cycle, The Destiny of Marie de' Medici, is a twisting composition of the three Fates on clouds beneath the celestial figures of Juno and Jupiter. Okay, now Marie learned her lesson, right? It was designed by Tommaso Francini, a Florentine fountain maker and hydraulic engineer. [89], Considering the haste with which Rubens completed this painting, his lack of specific reference to a golden age in his letter, and the existence of several contemporary depictions of Marie as a figure of Justice, most historians are content with the simpler allegorical interpretation which is more consistent both with Rubens's style and the remainder of the cycle.[90]. He also sold her a famous rosary, captured in Brazil. Except when Richelieu got too powerful, Marie made a huge, panicked mistake. Just weeks after Marie gave birth to an heir of France, she received a brutal blow. Fired. [49] On a side note, Avermaete discusses an interesting idea that is particularly present in this canvas. The upper half of the painting shows Marie and Henry as the mythological Roman gods Juno and Jupiter. The painting is separated into two distinct, but related scenes: the elevation of Henry IV to the heavens (his assassination on 14 May 1610 resulted in the immediate declaration of Marie as regent[65]) and the assumption of Marie to the crown. [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. 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. "The Golden Age of Marie de' Medici". Seriously girls, this guy? WebDespite the challenges of her life as she struggled to regain the power and influence she once had, Marie de Medici lived to hear herself proclaimed mother of three sovereigns, certainly an impressive legacy for the orphaned daughter of the Grandduke of Tuscany. Marie de Medici was the Queen of France and Henry IVs second wife. When Marie first heard that the powerful King Henry IV of France was after her hand in marriage, she was smitten immediately. Her sister and aunt flank Marie while two trumpets are blown simultaneously by an ethereal Fame, announcing her arrival to the people of France. As one of her first acts, Marie reconfirmed Henri IV's Edict of Nantes, which ordered religious tolerance for Protestants in France while asserting the supremacy of the Roman Catholic Church. Somewhat understandably, then, Henriette was absolutely livid at the betrayal. Kiera Cass. A formal chronological structure is followed in Panegyric writings detailing the ancestry, birth, education and life of the individual. Summary []. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. These ultimately imply that this allegory of Marie de' Medici is an apotheosis. These characteristics are known to be that of Piety or Religion, both of which Maria would want her son to embody. [41] The painting displays an embellished Baroque collaboration of the spiritual and earthly relationships, which are illustrated in a theatrical environment. Rubens was forced to remove these mythical figures and replace them with three generic soldiers. Louis looks upwards to his mother for guidance on how to steer the ship of state. [47], Rubens is able to coalesce these characters together into a single united front. The object may be seen as foretelling of Marie's peaceful reign. Millen & Wolf pp.220-221. The ship represents the state, now in operation as Louis steers the vessel. Practically her first act as Regent was to seek vengeance on Henriette dEntragues, banishing the bitter mistress from her presence and her court. The wealth of the Medici family attracted many suitors, in particular the younger brother of her aunt Grand Duchess Christina, Franois, Count of Vaudmont and heir of the Duchy of Lorraine. In the end, Marie had to needle Henry for nearly a decade to give her a coronation. [21] This record of visual history and the influences of his contemporaries, some who became lifelong friends of Rubens, would make an imprint on his art throughout his entire life.[22]. [122] Richelieu, who now had full control of the cycle, refused to speak to Rubens about completing the Henry Gallery based on the falsehood that he was tending to affairs of the state. She took refuge in the Chteau d'Angoulme and provoked an uprising against her son the King, the so-called "war of mother and son" (guerre de la mre et du fils). WebMedia in category "Marie de' Medici cycle by Peter Paul Rubens". The model, or overall design, for this portrait of Johanna of Austria goes back to a painting by Alessandro Allori that was then copied by Giovanni Bizzelli. These paintings of her parents in Marie de' Medici's reception hall look bleak in comparison to the portrait of Marie, where she is looking beautiful if not vain. In short, Marie was in for an extremely rude awakening. The way France is also dressed shows how female she is on top revealing her breasts and the way the fabric is draped adding notions of classicism. [79] Other figures include Fame and the personification of Austria with her lion. [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". When she arrived at her home in the Louvre in the capital, she found her surroundings so run-down, she was sure her husband was playing a joke on her. Here, we can see evidence of the adaptability of Rubens' style which made his career so successful. For nearly two years, she was a virtual prisoner at the Chateau de Blois, and watched enviously as her son Louis took his rightful throne. She mostly quarreled with the matresse-en-titre Catherine de Balzac d'Entragues (whom Henry IV had allegedly promised he would marry following the death in 1599 of his former matresse-en-titre, Gabrielle d'Estres[12]) in a language that shocked French courtiers; also, it was said in court that Henry IV took Marie only for breeding purposes exactly as Henry II had treated Catherine de' Medici. The aging ruler, who was nearly two decades older than Marie, had been dirt poor for years, at least by royal standards. As a comparison, there are within each, two women upon a dais classical pillars, swathes of luxuriant cloth, genuflecting personages with arms extended, and allegorical figures present. [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. Other changes include the removal of the Three Fates, originally positioned behind the king calling him to his destiny, war, and death. Marie might have been grieving, but she wasnt motherless for long. Household scenes took place, followed by periods of relative peace. In the work, Truth gestures toward the Queen while Time looks toward her from below. Henry's promiscuity made difficult the production of a legitimate heir, and rumors circulated to the extent that Henry's court artists began to employ strategies to convince the country otherwise. They remained close until Margarets passing in 1615. [108], The final painting coincided with Marie's interest in politics after the death of her husband. WebWritten and illuminated in the first quarter of 16th century the Flemish book of hours of Marie de Medici represents a beautiful example of the artistic perfection of Flemish art. The last painting in the cycle, The Triumph of Truth, is a purely allegorical depiction of King Louis XIII and his mother, the Queen, reconciling before heaven. She wrote extensively, especially to her children and to other powerful European leaders. Well, Marie wasted no time either. [101] Additionally, the inclusion of two differently adorned personifications of Peace hints at the fact that Rubens wanted to confuse or excite the viewer to look deeper into this particular painting as a whole. [104] The artist chose the high road, relying on Ripa's visual vernacular, to portray a scene where virtues defeat vices and embrace peaceful reconciliation making little more than an allusion to a vague political statement.[104]. As in other scenes in the Medici Cycle, Rubens includes a mythological element: the ancient god of marriage, Hymenaios wearing a crown of roses, carries the bride's train in one hand and the nuptial torch in the other. And she was just getting started. In the end, the great, powerful Marie de Medici passed on July 3, 1642. Obviously, all was not well in the Kingdom of France, but events soon took a turn for the worse. Gortner, The Confessions of Catherine de Medici tags: innocence , medici 41 likes Like Love is a treacherous emotion. WebLorenzo de' Medici "Youth is sweet and well, But doth speed away!, Let who will be gay, Tomorrow none can tell" Lorenzo de' Medici "Desire matched what nature's will decreed: It did not spurn but relished what it had" Lorenzo de' Medici "The more she is denied to him, the more desire inflames and stings his smitten heart" Lorenzo de' Medici For example, how she overcomes the rebellions and the disorders of the State. The fountain was designed due to a special demand of the Queens. She intended to plead her case there, but the escape was only a political trap set by her son, who had withdrawn the regiments guarding the Chteau de Compigne. Catherine of Aragon is now infamous as King Henry VIIIs rejected queenbut few people know her even darker history. This young girl, a few years older than Maria, soon gained great influence over the princess, to the point that Maria would not make decisions without talking to Leonora first. The second rower's shield depicts a flaming altar with four sphinxes, a coiling serpent and an open eye that looks downwards. [33] The last panel of the cycle, in accordance with this theme, illustrates Queen Marie rising up to her place as queen of heaven, having achieved her lifelong goal of immortality through eternal fame. Her pride would not allow her to return to Tuscany as a rejected Queen and mother." WebQuotes [ edit] We read that we ought to forgive our enemies; but we do not read that we ought to forgive our friends. She took a strict approach to parenting Louis, which was saying something for the time. The Master of the However her bottom half, most notably her exposed calves and Roman boots hints at a masculinity. The English statesman Ralph Winwood also described her as of a comely stature, and with a natural grace. Taking advantage of the clear weakness of the Regency, the princes of the blood under the leadership of Henri II, Prince of Cond, rebelled against Marie. In fact, due to the king's other engagements their introduction was delayed, and it was not until midnight nearly a week after Marie arrived that Henry finally joined his bride. A parchment Prayer Book belonging to Marie de' Medici has artwork that may date from the 15th century, but is also remarkable for its canivet cuttings. Marie receives ultimate vindication by being re-admitted to the Council of State in January 1622. [93] It is an interesting painting to examine within the context of the tense relationship between the young king and his mother. 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