The Triumphal Entry into Paris is the culminating point of the North End of the gallery. The figure adjusting the sail is thought to be Prudence or Temperance. The scene is rich with symbolism highlighting her heroism and victory. The overseer or creator of more than three thousand woodcuts, engravings and paintings in various mediums, Rubens's works include historical, religious and allegorical paintings, altarpieces, portraits and landscapes. It also suggests that she perpetuated the policies and ideals of the late King in his life and in death.
Above in the clouds, Jupiter and Juno are intently staring down affectionately at the presentation scene, symbolizing their approval and subsequent marital harmony. Inspection under ultraviolet light reveals retouching to a small damage in the god's wing, centre left, measuring 1 x 1 cm. Most of the sketches represent actual battles in which Henry was involved, such as The Capture of Paris. It is highly unlikely that Rubens actually had such a pronounced presence in this scene when it took place. Additionally, the inclusion of two differently adorned personifications of Peace hints at the fact that Rubens wanted to confuse or excite the viewer to look deeper into this particular painting as a whole. The crowd below in the basilica raise their hands in acclamation of the new Queen, and above, the classical personifications of and a winged shower the blessings of peace and prosperity upon the head of Marie by pouring the golden coins of Jupiter. During the sixteenth and seventeenth centuries iconography of the Christian world, as well as that of the Greek and Roman pantheon was understood by well-educated artists and citizens alike, and a familiar device used in artistry.
He had a large studio in Antwerp, but Rubens used his work as a painter to travel and gather information without rousing suspicion. They derived from Greek mythology and were considered friendly creatures that lived in the Mediterranean Sea on which Marie travelled to get to Marseilles. While Rubens was certainly aware of the inherent meaning of the orb and employed it to great effect, it appears that Marie and her counselors instigated its introduction into the cycle to add allegorical and political grandeur to the events surrounding Marie's regency. The baby is quite close to a serpent, which is a representation of Health. Louis and his mother were not reconciled for over four years, and finally in 1621 Marie was permitted to return to Paris.
Although, surprisingly, Ruben's version is considered even less remarkable than the models. Greek mythology was peppered with demi-gods and humans conceived with dual copulation both divine and mortal to produce a strong human with god-like attributes. 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. My favorite figure is of Hymenaios, who—along with Amor—is holding the portrait of Marie. Meanwhile, and are sitting atop clouds looking down on Henry as they provide the viewer a key example of marital harmony and thus show approval for the marriage. He creates equality between all of the figures in the painting by cleverly balancing corporeal and ethereal space.
It should be kept in mind that Rubens's energetic manner of placing all these allegorical themes is substantially resultant from classical coins as documented through communication with his friend and notable collector of antiquities, Nicolas-Claude Fabri de Peiresc. This half ends with a depiction of Marie's coronation. In contrast, no model for the portrait of the Queen's father is known, although it is questioned if he used ideas from one from Paris that, in which he wanted to convey the authoritative appearance of historical figures. There is an additional claim that Marie had envisioned these paintings to be studied alternately, left to right, so the thoughtful viewer would have had to crisscross down the gallery. The goddess whispers to his right ear and advises him upon his bride. Henry's promiscuity made difficult the production of a legitimate heir, and rumors circulated to the extent that Henry's court artists began to employ strategies to convince the country otherwise.
He excluded the traditional 16th Century hieratic poise for a relaxed interpretation, where she wears regularized drapery and Rubens adorns her in that of the state of always being sick and weak. Furthermore, unlike her husband, Marie's life was neither graced with triumphant victories nor punctuated by vanquished foes. The Neireds were the 50 daughters of Nereus, the sea god. With the Cupid as his escort, , the god of marriage, displays the princess Marie on canvas to her future king and husband. In the end, her own son rose up against her at only age 15 and their fight is legendary in the books of history. Thus, Rubens had a great deal of artistic freedom with this work.
The cycle in the Richelieu wing of the Louvre The Marie de' Medici Cycle is a series of twenty-four paintings by commissioned by , widow of , for the in Paris. She was accompanied by the Grand Duchess of Tuscany and her sister, the , into the welcoming, allegorical open arms of a personified France, wearing a helmet and the royal blue mantle with the golden. This is an excellent art analysis! Rubens is able to coalesce these characters together into a single united front. Rubens, then court painter to the under , had first met Marie at her proxy wedding in Florence in 1600. Not the typical subdued, submissive female figure in long demure gowns and bare feet, but a figure harking back to the Amazons, and to popular depictions of —the personification of Rome. The right side of the panel shows the succession of the new Queen, dressed in solemn clothing suited to a widow.
Therefore, Marie's visual biography was divided into three main chapters: childhood, life as a married queen, and the regency as a widow. In The Debarkation at Marseilles the queen is shown being welcomed by a personified France. Below are the three famous Nereids of Nereus. The remaining three are portraits of herself and her parents. The paintings are now displayed in the same order in the Louvre.