Painting of the French Royal Family

27 Wednesday Jan 2021

Posted by liamfoley63 in Art Work, Featured Monarch

Tags

Charles II of England and Scotland, King August II of Poland, King James II-VII of England and Scotland, King Louis XIV of France and Navarre, Louis Le Grand Dauphin, Madame de Ventadour, Nicolas de Largillière, Renaissance, Royal Portrait

The painting at the top of this board was painted by Nicolas de Largillière of the French Royal Family. It is a composite portrait of the Bourbon succession, made in the period 1715-1720.

At the centre of the portrait is the Sun King, Louis XIV (seated) with his son Prince Louis, Le Grand Dauphin (to the left), his grandson Louis, Duke of Burgundy (to the right), his great-grandson Louis Duke of Anjou, and Madame de Ventadour, Anjou’s governess, (and the only non-royal in the painting) was the one that commissioned this painting. Her presence references her role in “saving” the dynasty in the measles epidemic of 1712. Busts of Henri IV and Louis XIII are in the background. The King displays a sense of slight uneasiness unlike the other figures especially. In the painting, Largillière used the Renaissance technique of structured disposition.

About the Artist

Nicolas de Largillière (10 October 1656 – 20 March 1746) was a French portrait painter, born in Paris. A painting by de Largillière caught the attention of Charles II, who wished to retain Largillière in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largillière. Largillière left for Paris, where he was well received by the public as a painter.

Upon ascending to the throne in 1685, James II requested Largillière to return to England. James II offered Largillière the office of keeper of the royal collections, but he declined due to being uneasy about Rye House Plot. However, during a short stay in London, he painted portraits of the king, the queen Mary of Modena, and the prince of Wales James Francis Edward Stuart. The portrait of the Prince of Wales could not have been painted during Largillière’s stay in London because the prince was not born until 1688.

The three portraits painted by Largillière of the prince in his youth must have been executed in Paris, where he returned sometime before March 1686. The portrait of King James II was painted in 1686. King James is portrayed in golden armor with a white cravat and is positioned in front of a watercolour-like background set in a round frame.

In Paris, during the year 1686, Largillière produced a portrait of the painter Charles Le Brun for admittance to the French Academy. The portrait shows Le Brun, then the chairman of the academy, at work on an entombment, surrounded by classical busts and figurines scattered upon the floor and table within the picture. Le Brun, impressed by Largillière’s portrait, accepted him to the academy.

In 1690, Largillière was documented by the French Academy as a historical painter, which was a prominent artistic trend of the academy until the introduction of Édouard Manet.Towards the end of his life, Largillière painted a repetition of anonymous male portraits of Parisian nobles. One example was painted in 1710, of a man standing with spread fingers that conceal a letter held in the other hand. Another portrait from about 1715 shows a frontal three quarter view of a man dressed in similar clothes and wig with a Doric column in the background.

In 1714, Largillière painted King Augustus II of Poland. Largillière also painted the artist Jacques-Antoine Arlaud in a red robe in a similar fashion to Largillière’s portrait of the painter Charles Le Brun, as well as the sculptor Nicolas Couston. Around the next year, Largillière painted The Study of Different Types of Hands, which currently resides in the Louvre.In 1718, Largillière painted the French poet and essayist Voltaire.The Entry of Christ into Jerusalem was a landscape painting that Largillière painted in 1720.

Largillière made his last self-portrait in 1725. This portrait displays the artist at his easel staring toward the audience. Largillière was appointed as chancellor of the French Academy in 1743.

Death

Nicolas de Largillière died on 20 March 1746 at the age of 89. Upon his death, he donated to France several small landscapes and still life pictures he had created.

Franz Xaver Winterhalter

09 Tuesday Oct 2012

Posted by liamfoley63 in Art Work, From the Emperor's Desk

≈ 2 Comments

Tags

Emperor Franz Joseph, Empress Elizabeth of Austria, England, France, Franz Xaver Winterhalter, Louis-Philippe of France, Louise Marie of Orleans, Ludwig I Grand Duke of Baden, Madame Barbe de Rimsky-Korsakov, Mexico and Belgium, Portugal, Prince Albert, Queen of the Belgians, Queen Victoria, Queen Victoria of the United Kingdom, Russia, Spain

Back in the late 70s when I began my interest in royalty I soon found myself attracted to the 19th century. Despite my love for modern technology there are times I think I was born in the wrong century. I love looking at old photos from the 19th and early part of the 20th century. Even though the art of photography was growing in the 19th century all types of painting, including portraits, still thrived. For anyone examining royalty in the 19th century sooner or later you will run into the works of Franz Xaver Winterhalter (20 April 1805 – 8 July 1873). He was a German painter from the Grand Duchy of Baden who became one of the most sought after painters at the courts of Europe.

The portrait of Queen Victoria above was not for the public but was commissioned for Prince Albert. I think this portrait is exemplary of his style.

He is by far my favorite painter, besides Bob Ross of course. Winterhalter devoted his life to the study of art. He first attended a school at a Benedictine monastery in St.Blasien. At the age of thirteen he began to study drawing and engraving. In 1825, he was supported by Ludwig I, Grand Duke of Baden (1763–1830) and began a course of study at the Academy of Arts. In 1828 he became drawing master to Sophie, Margravine of Baden and it was here than his association with royal courts began. In 1836 he was able to move to Paris, France and in 1838 his painting of Louise Marie of Orleans, Queen of the Belgians, and her son, Duc de Brabant brought him great notoriety and within a short time he was the court painter for King Louis-Philippe of France.

One of the sad things about Winterhalter’s career is that in artistic circles popularity breeds contempt. His style was uniquely his own although he was influenced by Romanticism which crossed both art and literature. He was not taken seriously in artistic circles and fellow artists and critics dismissed his work as being superficial and an expression of affectation. Since he was painting many royals at court he did flatter them in portrait and was at their mercy to portray them in images which would enhance them in the eyes of their subjects. He was loved in royal circles as he painted The royal families of England, France, Spain, Russia, Portugal, Mexico and Belgium. His style does idealize his subject and there is an air of elegant romanticism to his work. His best work was with the ladies at court. His most famous paintings being those of Empress Elizabeth of Austria, wife of Emperor Franz Joseph. His paintings of the royal men were not as popular.

Madame Barbe de Rimsky-Korsakov

He died of typhus in 1873 at the age of 68. He had a brother, Hermann, who was also a painter who lived until 1891. Another favorite of mine appears above. The lady is not royal, she is Madame Barbe de Rimsky-Korsakov. She was a wife of Nikolay Rimsky-Korsakov, a Russian aristocrat, and she and her husband are mentioned in the novel “Anna Karenina” by Leo Tolstoy. She sat for Winterhalter in 1845 and this portrait now sits in the Musee d’Orsay in Paris. After his death his work fell into obscurity and it wasn’t until the mid to late 20th century when his work became acknowledged and celebrated.