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French Baroque 1660 - 1715. Portrait de Louis XIV, 1701 Hyacinthe Rigaud developed a French national style as part of political program high-heeled shoes,

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Presentation on theme: "French Baroque 1660 - 1715. Portrait de Louis XIV, 1701 Hyacinthe Rigaud developed a French national style as part of political program high-heeled shoes,"— Presentation transcript:

1 French Baroque

2 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

3 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

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

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

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

7 Chateau of Vaux-le-Vicomte, near Paris by Louis Le Vau, Charles LeBrun, Andre LeNotre

8 forerunner to Versailles—design elements first experimented with

9 Palace of Versailles Louis XIV’s Building campaign: , by LeBrun, LeVau, LeNotre, & J.H. Mansart.

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

11 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

12 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

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

14 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

15 Palace of Versailles, Louis XIV’s Building campaign: , by LeBrun, LeVau, LeNotre, & J.H. Mansart.

16 LeVau’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 16th and 17th century Italian palace design

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

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

21 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

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

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

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26 Queen’s Staircase Palace of Versailles , by Charles LeBrun

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

28 Salon du Guerre (Salon of War)

29 Galerie des Glaces (Hall of Mirrors) built by Francois Mansart between , 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

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

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

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

33 in France, bedchamber was center of the royal presence

34 Lit de parade— what is the counterpoint?

35 French Baroque Furniture 1660s-1715

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

37 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

38 X stretcherH stretcher Chaise

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

40 André-Charles Boulle, French, Paris, about 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

41 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

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

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

44 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 1600s


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