French Baroque 1660 1715 Portrait de Louis XIV

French Baroque 1660 - 1715

Portrait de Louis XIV, 1701 Hyacinthe Rigaud • developed a French national style as part of political program • high-heeled shoes, flowing wig, heavy draperies, gold—all signs of powerful monarch • using everything at his control to make a strong impression

• instinct for impressive poses and grand presentations suited the tastes of those who sat for him • captured very exact likenesses along with the subject's costumes and background details • paintings are considered precise records of contemporary fashions

Chateau of Vaux-le-Vicomte near Paris by Louis Le Vau, Charles Le. Brun, Andre Le. Notre (for M. Fouguet)

Chateau of Vaux-le-Vicomte, near Paris by Louis Le Vau, Charles Le. Brun, Andre Le. Notre collaboration marked beginning of new order: the manner associated with "Louis XIV style“

Chateau of Vaux-le-Vicomte, near Paris by Louis Le Vau, Charles Le. Brun, Andre Le. Notre involves a system of collective work, applied to structure, interiors, works of art and creation of entire landscape

Chateau of Vaux-le-Vicomte, near Paris by Louis Le Vau, Charles Le. Brun, Andre Le. Notre

Chateau of Vaux-le-Vicomte, near Paris by Louis Le Vau, Charles Le. Brun, Andre Le. Notre • forerunner to Versailles—design elements first experimented with

Palace of Versailles Louis XIV’s Building campaign: 1661 -1715, by Le. Brun, Le. Vau, Le. Notre, & J. H. Mansart.

garden's use of a baroque axis that extends to infinity when the château was built, Versailles was a country village

wanted site where he could organize and completely control government of France by absolute personal rule—required nobles spend time each year at Versailles, preventing them from developing their own regional power

the court of Versailles was the center of political power in France from 1682, when Louis XIV moved from Paris, until the royal family was forced to return to the capital in October 1789

south facade of Versailles before the construction of the hall of mirrors; 1675

Versailles at the end of Louis XIV’s fourth building campaign 36, 000 workers labored to create a place that eventually housed 100, 000 people

Palace of Versailles, Louis XIV’s Building campaign: 1661 -1715, by Le. Brun, Le. Vau, Le. Notre, & J. H. Mansart.

Palace of Versailles, Louis XIV’s Building campaign: 1661 -1715, by Le. Brun, Le. Vau, Le. Notre, & J. H. Mansart. Le. Vau’s design for state apartments closely followed Italian models of the day, as evidenced by the placement of the apartments on the piano nobile—borrowed from 16 th and 17 th century Italian palace design

Queen’s Staircase and the Ambassador’s Staircase salon d’Apollon originally designed as king’s bedchamber, but served as a throne room Le Vau’s plan called for an enfilade of seven rooms, each dedicated to one of then-known planets and their associated Roman deity

boiserie—carved, gilded wood panelling Motif of the Sun King

French en filade axis and control • a visitor's rank was indicated by how far he could get • most apartments began with a hall for the guards and concluded with a state bedchamber and a closet, with other more private rooms beyond • in between were antechambers used for eating and rooms for holding audiences

The Ambassadors’ staircase, Versaille rooms were decorated by Charles Le. Brun-- studied with the famed Tuscan artist Pietro da Cortona (Pitti Palace)

made an impressive first impression on foreign dignitaries to the French court

Queen’s Staircase Palace of Versailles 1661 -1715, by Charles Le. Brun

Salon du Paix (Salon of Peace) used stucco, gilding, and paint to create illusionistic scenes on walls and ceilings

Salon du Guerre (Salon of War)

Galerie des Glaces (Hall of Mirrors) built by Francois Mansart between 1678 -1687, a marvel of architecture, beauty, and intimidation—foreign ambassadors walked from the south end of the hall to the north where Louis would be waiting

mirrors were among the most expensive items to possess at the time Galerie des Glaces (Hall of Mirrors)

represents military victories of Louis XIV Mansart’s refashioning marks the beginning of a Rococo sensibility

Salon Oeil de Boeuf (Room of the Bull’s Eye Window) parquetry

in France, bedchamber was center of the royal presence

Lit de parade—what is the counterpoint?

French Baroque Furniture 1660 s-1715

Fauteuil, c. 1690 Carved wood leans backward tapestry upholstery owes overall form to Renaissance —but becomes more complicated in form, position and decoration square tapered legs s-scrolls

• arms curve both horizontally and vertically • richly carved and decorated • stretchers no longer straight rails—turned, curved and decorated • dynamic—appears as if it could move

Chaise X stretcher H stretcher

tabourets = stools tabouret de grace = stool of grace tabouret d’un seul fois = stool for one time

André-Charles Boulle, French, Paris, about 1678 - 1680 oak veneered with ebony, pewter, tortoiseshell, pewter, brass, ivory, horn, and various woods; with drawers of snake wood; painted and gilded wood figures; bronze mounts

Court Furniture by Andre-Charles Boulle, master cabinet-maker (maitre ebeniste) to Louis XIV ebenist—pinnacle of hierarchy of furniture makers ormolu—gilded bronze ornaments attached to furniture

Andre-Charles Boulle, Paris, c. 1680 - 1685 walnut veneered with brass, pewter, tortoiseshell, and ebony; gilt bronze

Bureau Mazarin, Andre Boulle, c. 1690, ebony and brass

Experts disagree about who created this piece. It is listed here as having been crafted by Boulle. Though more notably recognized for his brass inlay marquetry, this piece contains exotic wood inlays, tortoiseshell, pewter and brass set in an ebony veneer. It is likely the caryatids and gilt bronze mounts were added at a later date. The caryatids represent Autumn and Summer. The medallion in the upper center bears the resemblance to Louis XIV, "the Sun King". Andre Boulle Mid-Late 1600 s