Date : approx. between 1622 and 1625
Dimensions : 2.95 m x 3.94 m
Material : Oil on canvas
Acquisition : Sénat (1815)
Ecole flamande - Période Baroque
| Entrevue du roi et de Marie de Médicis à Lyon le 9 novembre 1600
Item 8 on 24
Flemish and Northern Painting
Painting (Tableau historique)
Area related
Paris (France)
Site related :
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| Description |  |
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This painting allegorically depicts the first meeting of Marie and Henri, which took place after their nuptials by proxy. The upper half of the painting shows Marie and Henri as the mythological Roman gods Juno and Jupiter. The representations are accompanied by their traditional attributes. Marie is shown as Juno (Greek Hera) identified by the peacocks and chariot. Henri is shown as Jupiter (Greek Zeus) identified by the fiery thunderbolts in his hand and the eagle. The joining of the couple's right hands is a traditional symbol of the marriage union. They are dressed in the classical style, which is naturally appropriate to the scene. Above the two stands Hymen who unites them. A rainbow extends from the left corner, a symbol of concord and peace. The lower half of the painting is dominated by imagery of Lyons. Reading from left to right, we see the cityscape with its single hill. The lions pull the chariot (which is a pun on the name of the city), and in the chariot we see the allegorical figure of the city herself with a crown of her battlements: Lyons. Rubens needed to be very careful in the representation of the couple's first meeting because allegedly Henri was very much involved with a mistress at the time of the marriage. In fact, due to the king's other engagements their introduction was delayed, and it was not until midnight nearly a week after Marie arrived that Henri finally joined his bride. By presenting him as Jupiter Rubens implies the promiscuity of the man and the deity. Simultaneously by placing King and Queen together he effectively illustrates the elevated status of the couple.
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Commande de la reine Marie de Médicis à Rubens
En 1622, la reine Marie de Médicis, veuve d'Henri IV et mère de Louis XIII, commande à Rubens une suite de vingt-quatre tableaux pour décorer la galerie occidentale du premier étage de son palais du Luxembourg à Paris (actuel Sénat).
Métamorphoses d'Ovide : Lycaon et les crimes de la terre (I, 163-252)
Du haut de son trône, Jupiter voit les crimes de la terre. Il gémit; et se rappelant l'horrible festin que Lycaon venait de lui servir, il est transporté d'un courroux extrême, digne du souverain des dieux; il les convoque; à l'instant ils sont assemblés.
Métamorphoses d'Ovide : Europe (II, 833-875)
Après s'être ainsi vengé de la jalousie d'Aglauros, Mercure, porté sur ses ailes rapides, abandonne les campagnes que protège Pallas, et remonte au céleste séjour.
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