APAH WEEK 18

Ruben's Henri IV receives the Portrait of Marie de' Medici

A young woman in a bejeweled dress with a stiff lace collar gazes confidently out of a simply-framed, bust-length portrait placed at the very center of a large canvas. Her name is Marie de' Medici, daughter of the Grandduke of Tuscany. The ancient gods of marriage and love—Hymen and Amor (Cupid), to the left and right, respectively—hover in midair as they present this portrait to Henry IV, the king of France. Hymen holds in his left hand a flaming torch, symbolizing the ardor of love, while Cupid extols the virtues of the Medici princess. Cupid's arrow has hit its mark; the king is smitten. He gazes up in gratitude, his left hand extended as he expresses his delight in his bride-to-be. 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 (Musée du Louvre) 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 (Musée du Louvre) From the heavens above, Jupiter and Juno, the king and queen of the Olympian gods, look down with approval, their own hands touching in a tender gesture of marital union. Jupiter's fierce eagle, seen in the top left corner, looks away from the couple and clenches its lightening bolts in its talons. In contrast, Juno's tamed peacock looks at the divine couple, while his mate cranes her neck to look at the portrait. A pink silk ribbon binds them together. The peahen perches on Juno's chariot, directly above a golden relief of Cupid who balances a yoke-shaped garland (a symbol of marriage) on his shoulders as he playfully dances on the wings of a proud eagle. The message is clear: even the king of the gods can be subdued by love. Following Jupiter's lead, Henry must also turn his attention to marriage. Jupiter and Juno (detail), Peter Paul Rubens, The Presentation of the Portrait of Marie de' Medici, c. 1622-1625, oil on canvas, 394 x 295 cm (Musée du Louvre) Jupiter and Juno (detail), Peter Paul Rubens, The Presentation of the Portrait of Marie de' Medici, c. 1622-1625, oil on canvas, 394 x 295 cm (Musée du Louvre) However, this match is about politics as well as love. Behind Henry stands the personification of France, wearing a blue silk garment embroidered with gold fleur-de-lys (the coat of arms of the French monarchy) and an elaborate plumed helmet encircled by a gold crown. She gently touches Henry's shoulder and whispers in his ear, assuring him that a match with the Medici princess is indeed good for the kingdom. 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. Henry obliges; his helmet and shield—now the playthings of two tender cherubs—lie at his feet. View of the Marie de Medici cycle by Peter Paul Rubens in the Louvre (photo: stevenzucker, CC BY-SA 2.0) View of the Marie de Medici cycle by Peter Paul Rubens in the Louvre (photo: profzucker, CC BY-SA 2.0) This canvas is the sixth in a series of twenty-four paintings on the life of Marie de' Medici commissioned by the queen herself from Peter Paul Rubens in 1622 to adorn one of the two galleries in the Luxembourg Palace, her newly-built home in Paris. In both scale and subject matter, this cycle is unprecedented. Not only is it unique in its dedication to the major life events of a queen, but it also includes events that were both quite recent and quite humiliating. After Henry was assassinated in 1610, Marie—acting as regent for their young son, Louis XIII—ruled the kingdom of France for seven years. The position suited her; but many French nobles begrudged her power. Divisions in the court, including tensions with her own son, led to Marie's exile from the Paris in 1617. The commission of the biographical cycle marked her reconciliation with Louis and her return to the capital city in 1620. It vindicated her reign as the queen of France. Presentation of the Portrait of Marie de' Medici (at left), Marie de Medici cycle in the Louvre Presentation of the Portrait of Marie de' Medici (at left), Marie de Medici cycle in the Louvre The cycle idealizes and allegorizes Marie's life in light of the peace and prosperity she brought to the kingdom, not through military victories but through wisdom, devotion to her husband and her adopted country, and strategic marriage alliances—her own as well as the ones she brokered for her children. This, at least, is the message she wished to convey and she worked closely with her advisors and Rubens to ensure her story was told as she saw fit. The Presentation of the Portrait forms part of this agenda; it is an idealized portrayal of the conclusion in April of 1600 of marriage negotiations that were two years in the making. The painting presents Henry's bethrothal to Marie de Medici as a union ordained by the gods, counseled by France, and inspired by Marie's beauty and virtues. In reality, the merits of the union were extolled not by a soft-haired, fleshy Cupid but by the alliance's French and Italian proponents, one of whom reported that the portrait presented by the Florentine negotiators "pleased His Majesty exceedingly." Henry, for his part, was distracted from the negotiations by his new mistress, whom he had promised to marry. Nevertheless, he recognized the political and financial necessity of the Medici marriage. When his advisor announced the finalization of the marriage contract, Henry exclaimed: "By God, let it be; there is nothing to be done about it, because for the good of my kingdom and my peoples, you say that I must be married, so I simply must be." Cupid and King Henry discussing the portrait of Marie de Medici (detail), Peter Paul Rubens, The Presentation of the Portrait of Marie de' Medici, c. 1622-1625, oil on canvas, 394 x 295 cm (Musée du Louvre) Cupid and King Henry discussing the portrait of Marie de Medici (detail), Peter Paul Rubens, The Presentation of the Portrait of Marie de' Medici, c. 1622-1625, oil on canvas, 394 x 295 cm (Musée du Louvre) For Henry, a Protestant who had converted to Catholicism upon ascending to the throne in 1593, a Catholic wife would assuage any concerns about his loyalty to the Catholic Church in France. Additionally, Marie's hefty dowry eased Henry's large debt to the Medici, major financial backers of his military activities. And, perhaps most importantly, Henry was nearing the age of 50 and had yet to father an heir, putting France's future stability in danger. A fruitful union with Marie was key to this stability. In this matter, the 27-year old Marie did not disappoint, giving birth to a son one year after the wedding, and five additional children, four of whom survived to adulthood. Rubens asserts Marie's successful role as wife and mother by establishing a dominant vertical axis through the center of the composition from Juno, with her exposed, full breasts, through Marie's portrait to the chubby cherub directly below. Of all of the figures in the painting, Marie and the cherub are the only ones who look out at the viewer, pointedly reaffirming the centrality of Marie de' Medici and of her royal progeny to the future of France. The theme of peace, which runs throughout the cycle, was indeed furthered not only in France but in Europe by the marriage alliances brokered by Marie for her children: Louis XIII married a daughter of the Spanish king, her daughter Elisabeth married the heir to the Spanish throne (the future King Philip IV), and her daughter Henrietta married Charles I of England. Luxembourg Palace (garden façade), Paris Luxembourg Palace (garden façade), Paris The pictorial cycle was installed in the Luxembourg Palace by 1625, in time for the Henrietta's wedding festivities, thus enabling Marie to showcase her accomplishments to her many guests. Marie's truce with her son Louis however was short lived and she died in exile in 1631. Despite 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.

Bruegel's Hunters in the Snow

Content/Symbols/Subject Matter: Part of a six-part series of images called seasons of the year Figures, and houses painted in warm, earthy tones -- contrasting from the cold blues and grays used to represent the elements Homogenized figures, none of which show their face--represent the poor, "nameless" Hunters return from what might have been an unsuccessful hunt Both figures and dogs bend down and sulk, looking exhausted Small figures in the background dot a pair of frozen lakes, seemingly enjoying the winter Figures dance about the ice, interacting with each other and small objects Mood in the foreground -- solemn, sense of despair Figures in bottom left third sag, trudging through the snow Left-most figures huddle by the fire, desperate for warmth Almost every visible figure has a downward gaze Architecture -- where nature and civilization meet Rows of houses fall away into vast fields of snow 2. Formal qualities of this work: 117 cm by 162 cm Contrapposto, dynamic movement Figures with their back towards the viewer -- draws eye into the scene, away from the foreground Lots of contrasting colors -- draws eye around the composition Sharp forms, less gentle blending Very, very subtle use of atmospheric perspective in the back-most mountains and hills 3. Contextual issues / History relevant to the art / artist: Painted by Pieter Bruegel the Elder Painted in 1565 Bruegel is best known for his landscapes and his focusing on the life and mannerisms of peasants this is fitting considering the content of this work This is probably the reason this work's patron picked Bruegel It was commissioned by Nicaels Jonghelinck This is a secular painting This is one of six works in series entitled Months of the Year strangely there are only six works instead of twelve and only 5 still exist Northern Renaissance The patron was from Antwerp in modern day Holland This probably depicts a scene somewhere in the alps This is because Holland is an extremely flat country, yet there are mountains in the background 4. Function(s) / Meaning: Function Represents both the hardships and the enjoyments of winter Sheds light on the activities of everyday life Reaction to the renaissance themes of nobility and religion Making art to depict the world as it is seen 5. Related Themes: Everyday life and mannerisms Social commentary Beauty in simplicity 6. Related works for Comparison: Bayueax Tapestry Representation of everyday activities No-frills depictions of commoners doing jobs Seated Boxer Sense of sorrow, defeat → sagging figure(s) Tangible sense of both physical and emotional weight Everyday subject

Ruysch's Fruit and Insects

Form: Still-Life paintings Function: Painted for her Cosimo III = sign of friendship and common wealthy status Sold for double that Rembrandt's paintings sold for Painting for a widening merchant class Intricate and formulaic approach that dominated the late Renaissance Less complex but more realistic Context Renaissance art was at its peak--> artists began to challenge the societal norms (accepted artistic styles and elements of the time) Artists reinvented the way art was portrayed --> led to a new form of art Vibrant colors (red and green) Uncommon subjects 1648 = Netherlands became independent from Spain (economic prosperity) Flourishing international trade = newly affluent middle class Wealthy merchants created a new kind of patronage and art market = producing directly for buyers (rather than work commissioned by the church) Historical, mythological, or religious paintings were no longer desired = buyers wanted portraits, still-life, landscapes, and paintings of everyday life Artworks that would reflect their success Rachel Ruysch became known as one of the greatest floral painters of her time Rachel Ruysch Grew up in Amsterdam into a wealthy family of Dutch artists, architects, and scientists First successful female artist during the Baroque She specialized in still life (a theme of natural beauty in life) Art that reflected the time period (microscope was perfected) Her father, Frederik Ruysch, was a scientist (professor of anatomy and botany) who inspired the small details in her work He had a collection of rare natural historic specimens that led Rachel to help, catalogue, and record Led Rachel to her fascination with insects He encouraged her artists talents with careful observation of the natural world At 15 years old, began apprenticeship with famous painted Willem van Aelst (also specialized in still life) At 18 years old, she produced her first still life and established her career... At 29 years old, she married painter Juriaen Pool (had 10 children) Remarkably prolific = produced 250 paintings in 7 decades "Holland's art prodigy" "Our subtle art heroine" Scientific interest into categorizing Content: Possessed elegant skill and technique (element of sensitivity) She used bold and dynamic colors and textures Parallel to the growth of the Dutch industry and science of botany Flowers became newly appreciated simply for their beauty and fragrance Desirable status symbols for the wealthy However this work speaks to fruits and insects Season = Autumn Subject = fruits, vegetables, harvest, and insects Composite of the studies (combined into this composition) Grapes = blood of Christ Animals = naturalism Corn, Squash, Chestnuts Also Wheat = Eucharist (christian symbolic value) Attention to detail (particularly leaves and flowers) Less symmetrical and much more lively Curves (a sense of movement) Less formalized and orderly Possessed energy and creativity A sense of illusion and realism (the painting seem real) Story (a world of its own) Butterfly that is about to land but perhaps has second thought because their is a salamander or a small lizard

Vermeer's Woman Holding a Balance

Form:pinky is the vanishing point center of the painting is the center of the balance compositional control in the way that color is handled gold from curtain on the inner painting frame and the pearls and dresssoft swirled painting style common in baroquegenerally muted colors save his favorite blue and gold-----------Baroque: - "Baroque art is characterized by great drama, rich color, and intense light and dark shadows. Baroque artists chose the most dramatic point, the moment when the action was occurring. 's baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance."- Vermeer uses: - light - shadows - vibrant colors - emotion thought - diagonals - attention to details Functionwealth and piety / spirituality need a balance between those twoworld possessions in front christ behind idea of weighing ... judging mirror sign of vanity so maybe relating to the worldly possession idea ignoring the painting and focusing on what is in front of her but also sign of self knowledge and truth - To show what people in 17th C Holland were like - maybe they were straying from religion? Content:scene of everyday life BUT lots of symbolism woman is dressed in fine clothing she's part of the upper MERCHANT class in Holland during the 17th Cthis class was increasingly buying more art "the scale and subject of which is very much like this painting"typical cap made of linen worn by women at home fur trimmed jacket meaning it's cold out / in stands in front of table on the wall opposite her is a window LETTING LIGHT IN !!!golden curtainsalso a mirrorright hand has a very fine balance nothing on the balanceas if she is waiting for the balance to come to a rest on the table in front of her there are a number of boxes one is open and is thought to have held the balance and weights in the other box are strings of pearls coins also which are an indication of material wealth maybe she's going to weigh valuables? Behind her, there is a painting christ "in a brilliant mandola towards the top"functioning as a judge over souls souls at bottomone on the right are blessed and left are damned LAST JUDGMENT strong indication that this painting is about more than just a woman weighing her valuables her head divides the blessed from the damnedLight also plays a huge part in this her front is illuminated = the side of the blessed her back is dark = damned the light also creates motion, brings to life this idea that she is waiting for the balance to become still aka the idea of time and changevery real and natural at the same time bc this is a snap shot so it is frozen and quiet She is not pregnant "He observes that Dutch fashions of the mid-17th century seemed to have "encouraged a bulky silhouette. The impression of the short jacket worn over a thickly padded skirt in Vermeer's painting in particular may create just such an impression."interior scene = intimate Context:"The origins of this work has been traditionally linked to Pieter de Hooch, whose Gold Weigher matches Vermeer's work very closely. Since neither of the paintings is dated, critics have hypothesized who influenced who on the basis of style.""Owing to the intimate nature of Vermeer's art, there has been an inclination to link the painter's family members to the figures of his paintings"in this case his wife -----------------------------------------little is known about his childhood "Vermeer was required to undergo a fixed period of training with a master painter who belonged to the Guild of Saint Luke, the powerful trade organization which regulated the commerce of painters and artisans"----------------------------------reminder of the changes taking place in the 17Cartists now painting for the merchant class as opposed to for the church 1664 was the year before the Second Anglo-Dutch War much of the lead up to the war happened in 1664 "Dutch ships were obligated by the new treaty to salute the English flag first. In 1664, English ships began to provoke the Dutch by not saluting in return. Though ordered by the Dutch government to continue saluting first, many Dutch commanders could not bear the insult. To provoke open conflict, James already in late 1663 had sent Robert Holmes, in service of the Royal African Company, to capture Dutch trading posts and colonies in West Africa. At the same time, the English invaded the Dutch colony of New Netherland in North America on 24 June 1664, and had control of it by October. The Dutch responded by sending a fleet under Michiel de Ruyter that recaptured their African trade posts, captured most English trade stations there and then crossed the Atlantic for a punitive expedition against the English in America. In December 1664, the English suddenly attacked the Dutch Smyrna fleet. Though the attack failed, the Dutch in January 1665 allowed their ships to open fire on English warships in the colonies when threatened. Charles used this as a pretext to declare war on the Netherlands on 4 March 1665."

Rembrandt's Self-Portrait with Saskia

form: Rembrandt used a copper plate, eroded by acid, to create this workThe Etching plate is deeper for Rembrandt than SaskiaShows him as more important, but also closer to the viewer He first etched in Saskia to help create the illusion that she is behind Rembrandt This was likely etched in a mirrorit depicts Rembrandt as left handed, yet he used his right Function: Private artwork comments on the nature of their relationshipWe are getting a view into a private moment as if we have literally interrupted it Context: Depicts a thirty year old Rembrandt and his wife Saskia, two years after they were married Rembrandt is one of the most prolific etchers of his time with nearly 300 to his name many of his early etchings have the immediacy and spontaneity of a rapid sketch Highly experimental artistUsed a soft ground to allow him to draw freely on the plate He is also well known for his portraitsHis style changed greatly over his lifetimeWith his early works we see a much more extensive use of ChiaroscuroHis later works show his evolved confidence as an artistWith the Self-Portrait with two circles we see him defiantly claiming his geniusWe also see his comparing of himself to the likes of Giotto with the two circles in the background Content: Obviously, this is a marriage portraitdepicts a young Rembrandt with his wife SaskiaThis is the only etched portrait of the two together Rembrandt rarely depicted himself as the contemporary GentlemanAgainst the style of time We are present in sceneWe appear to have interrupted an intimate moment This etching also marks the first time Rembrandt depicted himself as an artist in the workLike I said before, this was probably etched in the mirror causing a reversed image While this is the only portrait of the two together, it was not unusual for Rembrandt to use his wife as a model