Date : approx. between 1622 and 1625
Dimensions : 7,27 m x 3,94 m
Material : Oil on canvas
Acquisition : Sénat (1815)
Ecole flamande - Période Baroque
| L'Apothéose d'Henri IV et la proclamation de la Régence (14 mai 1610)
Item 11 on 24
Flemish and Northern Painting
Painting (Tableau historique)
Area related
Paris (France)
Site related :
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| Description |  |
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Sometimes also referred to as The Apotheosis of Henri IV and The Proclamation of the Regency, this particular painting within the Medici Cycle as a whole, was placed originally by Rubens as a series of three. 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.
The painting is separated into two separate, but related scenes: the elevation of Henri IV to the heavens (he had been assassinated on the 14th of May 1610 which resulted in the immediate declaration of Marie as regent) and the assumption of Marie to the crown.
On the left, Jupiter and Saturn are shown welcoming the assassinated King of France, as he ascends as a personified Roman sovereign, victoriously to Olympus. As with all of Ruben's allegorical paintings, these two figures are chosen for a reason. Jupiter is meant to be the King's celestial counterpart, while Saturn, who represents finite time, is an indication of the end of Henri's mortal existence. 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. Post-Impressionist, Paul Cézanne (1939-1906) registered for permission to copy the goddess as many as ten times. It should be kept in mind that Rubens's energetic manner of placing all these allegorical themes are substantially resultant from classical coins as documented through communication with his friend and notable collector of antiquities, Nicolas-Claude Fabri de Peiresc.
The right side of the panel shows the succession of the new Queen, dressed in solemn clothing suited to a widow. She is framed by a triumphal arch and surrounded by people at the court, including the personification of France who is handing her a globe. The Queen accepts an orb, a symbol of government, from the personification of France while the people kneel before her and this scene is a great example of the exaggeration of facts in the cycle. Rubens stresses the idea of the Regency that was offered to the Queen, though she actually claimed it for herself the same day her husband was murdered.
Worthy of note is a possible contemporary inspirational influence on Rubens for the right side of this painting. 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. 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. 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. In Rubens's painting, Minerva, Prudence, Divine Providence and France; in the Caravaggio, St Dominic, St Peter the Martyr, and a pair of Dominican monks. Also present in each are objets importants: rudder, globe, and rosaries. All these and more, combine to make a persuasive argument and show a certain artistically respectful nod from Rubens to Caravaggio as two contemporaries of the time.
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