She and Henry IV finally met on 9 December and spent their wedding night together. [30], The price of Marie de' Medici Cycle was roughly 24,000 guilders for the 292 square meters, which calculates to about 82 guilders, or 1,512 dollars, per square meter.[31]. [81] The wedding, which was thought to secure peace between France and Spain, took place on a float midway across the Bidassoa River, along the French-Spanish border. [78] Being a crossing of Rur, Juliers was of great strategic importance for France and thus the French victory was chosen to be the glorious subject of Rubens' painting. All of these symbols, Rubens displayed in this ambiguous and enigmatic painting to represent or "misrepresent" Marie de' Medici in the manner that portrayed her as the prudent, yet caring and humble mother of a young and nave monarch. With that cruel final blow, Maries childhoodsuch as it waswas officially over. The scene is rich with symbolism highlighting her heroism and victory. Her pride would not allow her to return to Tuscany as a rejected Queen and mother." [56], Throughout the depictions of Marie de' Medici's life, Rubens had to be careful not to offend either Marie or the king, Louis XIII, when portraying controversial events. [48] The scene takes place below a marble statue, which depicts God the Father mourning over the dead body of Christ, alluding to the Pieta sculpture by Baccio Bandinelli (14931560). [82], The remaining three paintings are portraits of Marie de' Medici, her father Francesco I and her mother Johanna of Austria. The Catholic fanatic Francois Ravaillac assassinated the king. The violence of these images would contrast nicely with the relative peace and regal quality of the scenes in the Marie de' Medici cycle. She wrote extensively, especially to her children and to other powerful European leaders. In 1631, Marie found herself exiled from court for the second and final time, and King Louis made sure his mommie dearest could never come back. The best revenge might be living well, but that doesn't mean we can always turn the other cheek. Her marriage with King Henry IV enabled him to pay off his debts with the huge dowry that he Shots. Marie de' Medici (French: Marie de Mdicis, Italian: Maria de' Medici; 26 April 1575 3 July 1642) was Queen of France and Navarre as the second wife of King Henry IV. In addition to the idea of political peace Rubens also includes the personification of Justice, Astraea. [14] The very next day (14 May), Henry IV was assassinated by Franois Ravaillac - which immediately raised suspicions of a conspiracy.[15]. Oh, but theres more. They are dressed in the classical style, which is naturally appropriate to the scene. During and after the regency, Marie de Mdicis played a major role in the development of Parisian artistic life by focusing on the construction and furnishing of the Luxembourg Palace, which she referred to as her "Palais Mdicis". Henriette hadnt kept her man around this long by being sweet and docile,and she showed her true colors to Marie in a devastating way.In reference to her money as well as her curves,Henriette took to spitefully calling Marie the fat banker to her face, just in case she needed reminding of why Henry had married her. [64] The other two having similar design measurements, it was consigned as the middle painting in a pseudo triptych of sorts as it adorned the halls of Marie de' Medici's Palais du Luxembourg. Close to the artists of her native Florence, Maria was trained in drawing by Jacopo Ligozzi, and she was reportedly very talented; she also played music (singing and practicing the guitar and the lute) and enjoyed theater, dance, and comedy. On September 27, 1601, Marie gave King Henry his biggest wish: A legitimate son. It is melody and song as Rubens combines heaven and Earth, history and allegory into a symphony for the eyes of the viewer. [125] The Battle of Ivry on the East Wall of the gallery is a scene of Henry's most decisive battle to unify the city of Paris. [78] The eagle in the sky compels the weaker birds to flee. We all have sins to confess.. Okay, now Marie learned her lesson, right? Specifically, the statues of Fracesco and Ferdinando de Medici. It was during his time in Italy that he began to make copies of classical sculpture, such as the Laocon Group, and collect drawings done by other artists. 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 subsequently traveled to Cologne, where she took refuge in a house loaned by her friend Pierre-Paul Rubens. To further consolidate her authority as Regent of the Kingdom of France, Marie decided to impose the strict protocol from the court of Spain. In the left corner, however, the new ruler himself discusses clemency with a few advisers. [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]. A page stands behind Henry of Navarre holding his personal badge: a white plumed helmet, while the dog at his feet represents fidelity. During this time, Rubens was in Madrid preparing for a diplomatic mission to London, working towards the rapprochement of Spain and England. "The Golden Age of Marie de' Medici". Now a refugee with the Spanish, enemies of France, Marie was thus deprived of her pensions. They also produced two French queens Catherine de Medici (15471589) and Marie de Medici (16001630). The codex includes 3 full-size illuminations, 42 full-page miniatures, countless historiated or golden initials, and borders feature Flemish and Italianate flowers. [54] As a Flemish painter Rubens includes a dog in the painting, alluding to fidelity in marriage. 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. They are used literally to portray the actual time of the event and shield the queen from spectators as they illuminate her path. In addition, her stepmother brought a female companion to the Palazzo Pitti for Maria, a young girl named Dianora Dori, who would be renamed Leonora. The Flight from Blois is a depiction of Queen Marie escaping from confinement at Blois. People in the know also claimed that he was deeply in debt to the House of Medici in particular, and marrying into the family would turn his ledger into a blank slate. [112] Compositionally, Rubens gives the queen greater importance in this panel through the use of gestures and gazes. The many headed hydra struck a fatal blow by Divine Justice as witnessed by Divine Providence, a theme based on a classical seventeenth century metaphor for insurrection. Rubens also added a barking dog, a common reference used to indicate or warn someone of foreigners who came with evil intention. When Marie first heard that the powerful King Henry IV of France was after her hand in marriage, she was smitten immediately. 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. Husbands hiding things from wives, mothers from children, and generation from generation. In negotiating the marriage between Marie de' Medici and Henry IV, a number of portraits were exchanged between the two. The pairing of Marie with the figure of Force gives power to the image of the queen, while Marie's actual pose is more passive, showing very effectively her graceful acknowledgement of her son's authority henceforth. Antoinette de Pons, Marquise de Guercheville and Premire dame d'honneur of the new Queen, was responsible for welcoming her to Marseille. Please submit feedback to contribute@factinate.com. [40] It is also suggested that the three gods, more importantly, offer their guidance as a gift that allows the soul to be "freed by reason" and gain the knowledge of what is "good" revealing the divine connection between the gods and the future Queen. In the end, the great, powerful Marie de Medici passed on July 3, 1642. Daughter of a Habsburg archduchess, the Queen-Regent abandoned the traditional anti-Habsburg French foreign policy (one of her first acts was the overturn of the Treaty of Bruzolo, an alliance signed between Henry IV's representatives and Charles Emmanuel I, Duke of Savoy), and formed an alliance with Habsburg Spain which culminated in 1615 with the double marriage of her daughter Elisabeth and her son Louis XIII with the two children of King Philip III of Spain, Philip, Prince of Asturias (future Philip IV) and Anne of Austria, respectively. Physically, he had a massive stutter and, somewhat alarmingly, a congenital double row of teeth. [82] With the death of son Louis' court favorite, Charles d'Albert de Luynes, mother and son reconcile. That was one of Brian De Palma's best movies. While Marie gazes adoringly at her son, Fecundity presses the cornucopia to her arm, representing the complete and bountiful family to come. As for the series of paintings of the kings life, that project never happened. Over the years, she did not notice the rising power of her protg; when she realized it, she broke with the Cardinal and sought to oust him. Her chaplain Mathieu de Morgues, who remained faithful to Marie in his exile, wrote pamphlets against Richelieu that circulated in France clandestinely. *laughs nervously*. Marie, meanwhile, basked in the glow of success and looked forward to an official coronation now that she had done her duty. The visit prompted Caspar Barlaeus to write his Medicea hospes ("The Medicean Guest", 1638). [82] Anna, at age fourteen the older of the two, turns back as if to take leave of Spain, while France gently pulls her by the left arm. However, a few weeks later, Henrietta d'Entragues also produced a son, and Henry not only made just as much fuss over this son but declared that he was better-looking, not fat and dark like Louis and the Medici. 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]. Stirring up xenophobic passion, the nobility designated the Italian immigrants favored by Marie as responsible for all the wrongs of the kingdom. In the spring of 1617, Louis finally ousted his mother from the throne in a coup detat, exiling her to the remote Chateau de Blois and executing her ally Concino Concini in the process. France declined to receive her. Canvas from Frans Pourbus . The tragedies of both her parents turned her into one of the wealthiest heiresses in Europe and, as she grew up, one of the most eligible bachelorettes on the marriage market. It is important to note that the reasons for not completing the Henry IV cycle had to do with the current political events of the time. The boy, named Louis, and automatically upon birth heir to the throne and Dauphin of France, was born to the great satisfaction of the King and France, which had been waiting for the birth of a Dauphin for more than forty years. [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. [111] Her son who is obscured in part by the Wing of Time, kneels before the queen and presents her with the token of amity, the clasped hands and flaming heart within a laurel crown. On the day Marie accepted Henrys hand, she probably knew the French king didnt possess her own ample treasury, yet the gruesome reality of the situation shocked her. The Queen of France might have liked art, but she loved herself. The object may be seen as foretelling of Marie's peaceful reign. Rubens designed the scene around the theme of political peace. In short, Marie had it allfor now, anyway. She took a strict approach to parenting Louis, which was saying something for the time. Although King Louis XIII kept on trouncing his mother and her men on the battlefield in these uprisings, Marie was not a woman to accept defeat. Another bone of contention concerned the proper maintenance of Marie's household as Queen of France: despite the enormous dowry she brought to the marriage, her husband often refused her the money necessary to pay all the expenses that she intended to carry out to show everyone her royal rank. [44] A personification of France is shown behind Henry in her helmet, her left hand showing support, sharing in his admiration of the future sovereignty. 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. By representing Marie as Juno, implying Henry as Jupiter, the king is seen domesticated by marriage. Playing the tough love card, he forced her into refuge with his enemies in Spanish territories, thereby stripping her of her title of Queen Mother along with any pensions. [67] This particular theme, within the painting as a whole, has found other great masters receiving inspiration and fascination from Rubens' tormented figure of Bellona, the goddess of War, who lays disarmed below. Very devout, she was known to keep an open mind, and to depend on those around her for support. 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. [128] This painting coincides with Apotheosis and Ascendancy in the Marie cycle. The ambiguity of the figures was essentially used to depict Marie in a positive light. King smitten with the portrait of his bride-to-be (detail), Peter Paul Rubens, 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 (Muse du Louvre). These have been identified as Cupid, Minerva, Prudence, Abundance, Saturn, and two figures of Pheme, all indicated by their traditional attributes, all bestowing their bounties on the Queen. Upon her return, Marie focused on building and decorating the Luxembourg Palace, an enormous undertaking in which Peter Paul Rubens played a key role. Yet this only set the stage for further scandal. Through a causal nexus, this painting would have been available to Rubens and thereby plausible for its influence to exist within Rubens's own genius on canvas. My dear, never give up a crown to anybody. Rule number one in queen school is to respect your crown. WebMarie believed that after bearing a son, she "would begin to be a queen". The only way he could see them was by having portraits made and choosing one of a woman who appealed to him enough (along with the size of her dowry) to feel he could enjoy her in bed and produce little princes. [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". Although originally started but may or may not have been finished in Rome, Caravaggio's Madonna of the Rosary may well have been an artistic influence on Rubens for the Proclamation of the Regency side of this painting, as the two works are highly corresponding in their presentation. The day after Marie officially became Queen of France, her husband suffered a horrific fate. In Rubens's painting, Minerva, Prudence, Divine Providence and France; in the Caravaggio, St Dominic, St Peter the Martyr, and a pair of Dominican friars. He excluded the traditional 16th Century hieratic poise for a relaxed interpretation, where she wears regularized drapery and Rubens adorns her in that of the state of always being sick and weak. [32] In Greek and Roman mythology, one Fate spun the thread, another measured its length, and the third cut the thread. WebThe 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. [19] Early in his career, Rubens studied under Flemish artists such as Otto van Veen,[20] but his most notable influences come from the time he spent in Italy where he studied ancient sculpture and the works of Michelangelo, Raphael, Caravaggio, Titian, and Veronese. Leonora had so much influence over the young girl, Marie often refused to make decisions without her. 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. WebMarie de Medici b. The royal entourage includes the Dauphin, the Prince of Conti with the crown, the Duke of Ventadour with the scepter, and the Chevalier de Vendme with the hand of Justice. Marie de' Medici became the second wife to King Henry IV of France in a marriage by proxy on 5 October 1600 by the power invested in her uncle, Grand Duke Ferdinand of Tuscany. However, when a papal bull denied him the throne and excommunicated him, Henry of Navarre protested, starting the War of the Three Henrys. Catherine reminds Mary that her crown is powerful. The Fates are depicted as beautiful, nude goddesses spinning the thread of Marie de' Medici's destiny; their presence at Marie's birth assures her prosperity and success as a ruler that is unveiled in the cycle's subsequent panels. Rubens represented a putto taking the crown of Henry III, with the intention of placing it on the willing future Henry IV, although the actual transfer of power didn't occur until Henry III's assassination several months later (1 August 1589). [14] Rubens painted extravagant images of the Queen Mother surrounded by ancient gods and at times even deified her using these devices. Powerful ones. The male figures in foreground reaching for her are unknown. Still, her end came quick and tragic. Despite being legally an adult for more than two years, Louis XIII had little power in the government; finally, he asserted his authority the next year. [25] Coolidge also argues that Marie envisioned the subjects as falling into pairs, and further into groups. However, the caduceus, which is seen in six other paintings in the cycle, has also been associated with peace and harmony. Within hours after Henry IV's assassination, Marie was confirmed as Regent by the Parliament of Paris on behalf of her son and new King, eight-year-old Louis XIII. Practically before Joannas body was cold in the ground, her father Francesco married again, this time to his long-time mistress, Bianca Cappello. In a patriarchal society, that would not be wise of the young monarch to give up her political power. Our credibility is the turbo-charged engine of our success. After formative years that would corrupt even the purest mind, Marie developed some disturbing coping mechanisms. 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. While in the matronly doghouse, Marie spent her time as a monarch-for-hire, and made a special visit to Amsterdam to help officially recognize the nascent Dutch Republic. The cornucopia above the infant's head can be interpreted as a harbinger of Marie's future glory and fortune; the lion may be seen as symbolic of power and strength. Gortner, After Marie's banishment in 1631, the project was to be completely abandoned,[123] which seems a travesty seeing as Rubens was very optimistic about the project and its effects on his career; "I have now begun the designs of the other gallery which, in my judgment, because of the nature of the subject will prove to be more splendid than the first so that I hope I shall rather gain [in reputation] than decline. - Cleugh; Interests Rather than accept this as a depiction of Marie as Justice, some hold that the real subject of the painting is the "return to earth of Astraea, the principle of divine justice, in a golden age. The overseer or creator of more than three thousand woodcuts, engravings and paintings in various mediums, Rubens's works include historical, religious and allegorical paintings, altarpieces, portraits and landscapes. (Cupid has his arrow; Prudence carries a snake entwined around her arm to indicate serpent-like wisdom; Abundance also appears with her cornucopia, also a reference to the fruits of Marie's regency. 1982. After the little Dauphin Louis came into the world, Henry ushered hundreds of courtiers into the birthing room to celebrate. The ultimate extension of the ruffs, or wide pleated collars, that were so popular among the wealthy in the sixteenth century was the Medici collar. She is framed by a triumphal arch and surrounded by people at the court. [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. However, the artist was also an avid collector of both reproductions and original works, not only from the masters of the Italian Renaissance, but more predominantly from his contemporaries. In addition to her shabby palace, Marie also had to deal with Henrys cunning head mistress, Henriette dEntragues, who immediately despised her. To the left, the arms of the Medici can be seen above an arched structure, where a Knight of Malta stands in all of his regalia. Force, extending her oar and heaving to, is identified by the shield just beneath her showing a lion and column. The Queen-Mother's attempts to convince Pietro da Cortona and Guercino to travel to Paris ended in failure, but during the 1620s the Luxembourg Palace became one of the most active decorative projects in Europe: sculptors such as Guillaume Berthelot and Christophe Cochet, painters like Jean Monier or the young Philippe de Champaigne, and even Simon Vouet on his return to Paris, participated in the decoration of the apartments of the Queen-Mother. Consorts to debatable or disputed rulers are in, sfn error: no target: CITEREFDelorme2003 (. She died in almost total poverty and obscurity, far away from both her homeland and the country she had once ruled. From there, the second half of Rubens' cycle begins addressing the more controversial issues from Marie's reign. Louis Beroud - Salle Ruben musee du Louvre 1904.jpg 1,500 1,002; 272 KB. Although Louis had come of age in 1614, Marie stubbornly refused to cede an ounce of power to her bouncing baby boy, remaining the de facto ruler of France long past her expiration date. 1989. The fact that the Henry IV series was not realized can be attributed in part to Marie de' Medici being permanently banned from France by her son in 1631. It was designed by Tommaso Francini, a Florentine fountain maker and hydraulic engineer. [46] The couple were married by proxy on 5 October 1600. Somehow, it only got worse. In the Louvre, the Queen had a luxurious apartment on the first floor fitted out, then moved in 1614 to a new apartment on the ground floor, which she had adorned with panels and paintings by Ambroise Dubois, Jacob Bunel, Guillaume Dume, and Gabriel Honnet on the theme of Jerusalem Delivered of Torquato Tasso (whose translation by Antoine de Nervze was Marie's first reading in French). WebMarie de' Medici, originally a scion of the powerful and rich House of Medici, was the Queen of France and the second wife of the King of France, Henry IV. These spats were disruptive, but there were other things going on in the broken home. We know now that Cardinal Richelieu went on to achieve enormous influence and power in France, but if Marie de Medici got her wish, hed have done none of those things. These characteristics are known to be that of Piety or Religion, both of which Maria would want her son to embody. 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. Panegyric writings were usually written during an important political event, the birth of a prince for example, and were used to exalt the qualities and ancestry of a ruler. Somewhat understandably, then, Henriette was absolutely livid at the betrayal. Here the monster is a stand in for the dead Constable de Luynes who has met its demise at the hand of a feminine Saint Michael. A first treaty, the Treaty of Angoulme, negotiated by Richelieu, calmed the conflict. Almost no one from King Henrys old court was happy with this turn of events, and for years they unleashed rebellion upon rebellion in an attempt to boot Marie from power. [78] Fame in the right side of the painting pushes air through the trumpet so powerfully that a burst of smoke comes out. Being the king's last major battle fought, this served as an optimal location. [98], The Return of the Mother to Her Son tenuously held an alternate title The Full Reconciliation with the Son after the Death of the High Constable until the temperament of the nation was assessed. [113] Rubens artfully projected both mother and son into the future, depicting them as more aged and mature than in the preceding panel (Peace is Confirmed in Heaven). 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. Why? [70], This painting commemorates Marie taking over the government as new regent, and promoting long-term plans for peace in Europe by way of marriages between royal houses. The remaining three are portraits of herself and her parents. "Heroic Deeds and Mystic Figures". 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. Minerva, goddess of wisdom, bears her helmet and shield and stands near Marie's shoulder, signifying her wise rule. [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. There was great approval of the match, as the pope and many powerful Florentine nobles had been advocates of the marriage and had worked at convincing the king of the benefits of such a union. Yes, the literal day after Maries coronation, her husband was gone. [126] This painting corresponds to the Coronation painting in the Marie de' Medici cycle. Well then, off to a great start. Marie was an enormous patron of the arts, and she extended her wealth to a whole host of painters and sculptors throughout her life. 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. Obviously, all was not well in the Kingdom of France, but events soon took a turn for the worse. Twenty-one of the paintings depict Marie's own struggles and triumphs in life. [52] The birth of the first male heir brings a sense of security to the royal family that they will continue to rule. 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. 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