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
| Henri IV reçoit le portrait de Marie de Médicis
Item 4 on 24
Flemish and Northern Painting
Painting (Tableau historique)
Area related
Paris (France)
Site related :
| 
 |  | |
| Description |  |
|
To fully appreciate and value this particular cycle piece and the collection as a whole, there is one historical principle to take into account. This painting was created on the cusp of the age of absolutism and, as such, one must remember royalty were considered above corporeal existence. So from birth, Marie would have led a life more ornamental than mortal. This painting of classical gods, along with allegorical personifications, aptly shows the viewer how fundamental this idea was.
Just as Tamino in The Magic Flute, Henri IV falls in love with a painted image. With Amor the Cupid as his escort, Hymen, the god of marriage, displays the princess Marie on canvas to her future king and husband. Meanwhile, Jupiter and Juno are sitting atop clouds looking down on Henri as they provide the viewer a key example of marital harmony and thus show approval for the marriage. A personification of France is shown behind Henri in her helmet, her left hand showing support, sharing in his admiration of the future sovereignty. Rubens had a way of depicting France that was very versatile in gender in many of his paintings in the cycle. Here France takes on an androgynous role being both woman and man at the same time. Frances's intimate gesture may suggest a closeness between Henri and his country. This gesture would usually be shared among male companions, telling each others' secret. The way France is also dressed shows how female she is on top revealing her breasts and the way the fabric is draped adding notions of classicism. However her bottom half, most notably her exposed calves and Roman boots hints at a masculinity. A sign of male strength in the history of imagery was their stance and exposed strong legs. This connection between the two show that not only are the gods in favor of the match, the King also has the well wishes of his people.
In negotiating the marriage between Marie de' Medici and King Henri IV, a number of portraits were exchanged between the two. The king was pleased with her looks, and upon meeting her was impressed even more by her, than with her portraits. 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. The couple were married by proxy on October 5,1600.
Rubens is able to coalesce these characters together into a single united front. He creates equality between all of the figures in the painting by cleverly balancing corporeal and ethereal space.
| Item(s) related | |
Louvre Museum :
Marie de' Medici cycle
| The Council of the Gods
Tableau mythologique
Ecole flamande - Période Baroque
Petrus Paulus Rubens
Sizes : 3,94 m x 7,02 m
circa from 1622 to 1625
|
 | Louis XIII Comes of Age
Tableau historique
Ecole flamande - Période Baroque
Petrus Paulus Rubens
Sizes : 3,94 m x 2,95 m
circa from 1622 to 1625
|
 | The Negotiations at Angoulême
Tableau historique
Ecole flamande - Période Baroque
Petrus Paulus Rubens
Sizes : 3,94 m x 2,95 m
circa from 1622 to 1625
|
 | The Queen Opts for Security
Tableau historique
Ecole flamande - Période Baroque
Petrus Paulus Rubens
Sizes : 3,94 m x 2,95 m
circa from 1622 to 1625
|
 | The Triumph of Truth
Tableau historique
Ecole flamande - Période Baroque
Petrus Paulus Rubens
Sizes : 3,94 m x 1,60 m
circa from 1622 to 1625
|
Rubens et la peinture flamande du XVIIème siècle - I
| Related article(s) | |
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.
L'Amour et la Folie
Fable de La Fontaine
|
