Louis Xiv And Madame De Poadour

Still, the negative aspects of France’s rule under King Louis XIV far outweigh the positive ones. His reign can best be described by the statement “L’état, c’est moi,” (I am the state) that is attributed to him. King Louis XIV spent state money to pay for his own luxuries and monuments that glorified his image. It was also customary for the artists King Louis XIV sponsored to include direct or indirect allusions to him in their productions thus creating a god-like image of him. The Palace of Versailles alone used 5% of France’s income. This liberal

Louis XIV’s symbol was the sun. He chose this because the sun is the center of the universe and all of the planets orbit around it, just as he wanted all of France to orbit around him. Louis XIV showed his absolutist values within art of the 17th century. He controlled what was acceptable to create and perform, he controlled art education all throughout France, and he controlled the style of the time.

This is present in his portrait of King Louie XIV where he is portrayed as a wealthy, confident and even pompous individual. Rigaud made his presence a grand and majestic one. This is in stark contrast to van Eyck’s Man in a Red Turban painting in which the subject in surrounded in darkness and is seemingly downplayed, humble and simplified.

It has long been known that the objects we own can cement our status. For King Louis XIV, who referred to himself as the Sun Prince, a mere palace wasn’t enough for him. In the book, “Classical, Baroque: Versailles, or the Architecture of the Prince,” Louis Marin explains how every detail of Versailles was carefully planned out in order to exercise the absolute power of King Louis XIV, but he neglects to recognize the power that the city of Versailles gave King Louis XIV.

During the 17th century when Louis XIV was king, French Society was ruled by his program of order through hierarchy and his minister Colbert economic policies of mercantilism. The French painting seems

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

The colors that are used in Falguiere’s oil painting help to create a mood using an intense earthy color palette with various analogous colors. The analogous colors that are used in the work of art vary between yellow and red, they are more natural to represent colors skin tone and dark clothing and a more idealistic space. The colors have a great intensity with the red being very deep and even the yellows and browns of the flesh are very bright. The bright colors bring focus to the foreground and the darker more muted colors are in the background. This is done by the artist to add focus to the composition. The pattern with color is that the foreground is lighter and brighter so lighter colors are used, with the audience they are more muted

King Louis XIV of France was one of the most powerful rulers in French history. King Louis XIV was an absolute ruler, meaning he had absolute power within his country and was divinely ordained (Treasure 2001 p.75). He used his wealth to create marvels of visual beauty, and entertainment both to show he had the command, and the resources to achieve such spectacles, as well as serving distractions for the Nobility. The class of Nobles in

Louis XIV had a passion for glory and used it to fight four wars because he was motivated by personal and dynastic considerations.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

The Rococo period in France brought about a new style of painting, focusing on nature, soft color palettes, fictional places, and other lighthearted subjects. Compared to the previous Baroque style with its use of classical art as inspiration, idealized bodies, and use of ancient mythology, we are able to see how drastic this artistic change was. Partially this was due to the change in society ideals. Painters were not being commissioned by the Catholic Church, but by the Monarchy and aristocratic patrons who were leaning way from the rigidness of religion towards the variability of nature. This period was ruled by King Louis XV , and the decades before the French Revolution in 1789 were full of opulence and luxury which manifested itself in the aristocratic love for art. Naughtiness won out over holiness and this can be seen in Nicolas Lancret’s 1735 painting, Luncheon Party in a Park (65.2649) . This painting exemplifies the themes of French Rococo, their favoritism with the natural world and the intimate sensuality of aristocratic outings, along with the style of soft brush work and light palates. With these three ideas of nature, a light color palate, and whimsicality in mind, we can see how Lancret’s painting demonstrates the laidback and frivolousness mentality of French society around the period of the 1730’s.

The reign of Louis XIV was the longest of the modern era, and during his time, France reached remarkable achievements in art and architecture, such as the Palace of Versailles. Louis XIV was responsible for creating the lavish complex that was filled with Baroque interiors and surrounded by French and English gardens. In its later years, it was further renovated for other kings then given to the Republic for public use. Through its elaborate ornamentation and massive scale, the Palace of Versailles represents the glory of the Sun King and expresses the power of the French monarchy.

Throughout history the concept of ruling with absolute power be found in various empires. In France, King Louis XIV was able to use his power to enforce his own opinions of protestants onto France. And in Russia, Peter the Great used his army to get revenge against Sweden after losing to them in a war. Both rulers used their high levels of authority to achieve their own goals. In France and Russia rulers such as King Louis XIV and Czar, Peter the Great ruled with absolute power, and used this power to achieve their own goals which both hurt their country as a whole or advanced and increased its power.

In Jean-Honoré Fragonard painting The Happy Lovers (appendix: fig. 1), viewers are able to get a glimpse into the light-hearted, playful Rococo period. The Happy Lovers is a 35.5 x 47.75 in. oil painting, that was created between the years 1760–5 in France for an unnamed aristocrat; however, it can now be found in the Norton Simon Museum in Pasadena, California. The Rococo period was a result of artists resisting the stiff monarchy, and desiring open expressionism–this was particularly emphasized through nature. The two great artists from this period are Fragonard and François Boucher, Fragonard’s teacher. A result of Boucher teaching Fragonard, specifically in the continuation of pastoral, Boucher was a great influence. This is obvious when The Happy Lovers is compared to Boucher’s The Bird Catchers (appendix: fig. 2). Both paintings include subjects of women holding bird catchers and doves, ultimately symbolizing woman’s ability to control relationships. More specific to The Happy Lovers, the woman dangles the cage above the boy, who is carrying a dove, a symbol of Venus–the goddess of love. However, in the bottom left quadrant of the painting there is an even larger cage with more doves, hinting at the idea that women can easily capture many men. This further expands the sensual intention Fragonard creates. In placing this scene within a secluded landscape, Fragonard emphasizes the flirtation and secretiveness between the two lovers–creating an unstructured, blissful

France, unlike Spain, had little success with the colonization and exploration of the New World, until shortly after Louis XIV, also known as the “Sun King”, ascended to the throne in 1643, at the age of four. Quebec, one of France’s most prominent New World settlements prior to Louis XIV, was founded by Samuel de Champlain in 1608, as an attempt to capitalize off of the fur trade industry, with assistance from the Heron Native Americans, who also played a role with the founding of the second most prominent settlement; in 1611, Frenchman Jacques Cartier founded Montreal, after numerous attempts to welcomingly create a settlement on the Heron’s land during the sixteenth century. Neither of these New France — what the eastern part of Canada was