The size and complexity of the composition justified the expectations of the sponsors and the time spent by the artist to complete his work. Caricature du portrait de Louis XIV par Hyacinthe Rigaud, William Makepeace Thackeray – The Paris Sketch Book by Titmarsh, 1840. Louis, as the focal point, stands in the center of the canvas, his body angled slightly while his face is turned to meet the viewer with the confidence and directness expected from a king. Fernand Engerand, Inventaires des collections de la couronne. Près de 270 ans après la mort de son auteur, le portrait de Louis XIV en costume grand royal par Hyacinthe Rigaud fascine toujours autant le public. 278 (April 1975), p. 84. "The portrait of the King has been exhibited in the great apartment of Versailles; It is full with the royal habit. In Acting on the Past: Historical Performance Across the Disciplines (Hanover, New Hampshire: Wesleyan University, 2000), pp. (Hong Kong: Hong Kong Museum of Art and the Musee National des Arts Asiatiques-Guimet, 1997), pp. The king occupies the central space of the painting whose composition is constructed from vertical lines (column, king, throne) and a pyramid in which the sovereign inscribes, which creates an elevated space. 3rd ed. Herbert, James. 2. Without it we will not have held him for three or four hours"[6]. 35-51, fig. Derrière lui, un enfant suivait de tous ses yeux le travail de l'artiste. Portrait de Louis XIV, par Hyacinthe Rigaud studio, 1701, la peinture française, huile sur toile. Bordeaux, Jean-Luc. The J. Paul Getty Museum Guidebook. The future king of Spain, eager to take with him the image of his grandfather, convinced Louis XIV to order Hyacinthe Rigaud to paint what would become the absolute image of royal power and the reference picture for generations to come: His reputation [Rigaud's] having reached the king, because of the portrait he had done of the Grand Dauphin as commander at the siege of Philippsburg, he had the honor in 1700, to be appointed by His Majesty to paint Philip V, king of Spain, his grandson, a few days before his departure to take possession of his kingdom. This image is available for download, without charge, under the Getty's Open Content Program. Possibly King Charles X of France, French, 1757 - 1836 (Paris, France; Schloss Frohsdorf, Austria), possibly by inheritance to his daughter-in-law, Marie-Caroline, or his grandson, Henri de Bourbon V, possibly 1836. Franko, Mark. This picture is ten and a half feet high; it is located in Versailles, in the throne room, and the picture of the king of Spain is in the private room of His Majesty. 213, ill. IV, Paris, De Bure, 1745. 56, entry by Xavier Salmon. -fév. • Charles-Philippe de Chennevières-Pointel, Louis Étienne Dussieux, Paul Mantz, Anatole de Montaiglon, Eudore Soulié, Mémoires inédits sur la vie et les ouvrages des membres de l’Académie royale de peinture et de sculpture, publiés d’après les manuscrits conservés à l’école impériale des beaux-arts, vol. On pourrait multiplier les analyses de détail de ce tableau véritablement passionnant. Getty, J. Paul. This information is published from the Museum's collection database. "[13] In 1733, he noted the rarity in a letter to Gabburri: "For my part I can encourage you to acquire a portrait of the reigning king and the queen, but the one engraved by Drevet is very difficult to have, and I have it Seen for sale at more than eight livres. "[9], The director of the King's Buildings ordered from the painter's studio a number of copies (in various forms for European courts or provincial royal dispensaries, such as that commissioned by François Stiémart, for example) or engravings, proved by a payment order dated September 16, 1702: "To Sieur Rigaud, ordinary painter of the King, for two large portraits of the King in full, with the sketch in small of the said portraits, as also of the full-length portrait of the King of Spain he made during the current year, 10,000 livres".[10]. A Handbook of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1965), p. 15. The Joys of Collecting (New York: Hawthorn Books, Inc., 1965), pp. Journal du marquis de Dangeau, publié en entier pour la première fois par MM. Mariette considers the work of Drevet as "what [the artist] has made more considerable" and that she " engraved by order of his very Christian Majesty and Estre put in his Cabinet. The massive barrel rests on a stylobate whose two visible sides are decorated with reliefs depicting two royal virtues: The allegories of Justice (front) and strength (left, very difficult to see). "[11] 2 (Winter 2001), pp. Chantilly, musée Condé. Rigaud a exécuté le visage sur une toile rectangulaire cousue ensuite à petits points sur une toile plus grande[16]. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week. The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. Ph.D. diss. Hyacinthe Rigaud (French, 1659 - 1743) 289.6 × 159.1 cm (114 × 62 5/8 in.) Louis XIV in Coronation Robes by Hyacinthe Rigaud (1701), Charles-Philippe de Chennevières-Pointel 1854, https://en.wikipedia.org/w/index.php?title=Portrait_of_Louis_XIV&oldid=997312509, Wikipedia articles with Joconde identifiers, Creative Commons Attribution-ShareAlike License. Titre de l'oeuvre: Les visiteurs ayant acheté un billet pour cette période seront remboursés automatiquement. En 1701, Hyacinthe Rigaud exécute le portrait en pied de Louis XIV en costume de sacre. Louis XIV's court adored Hyacinthe Rigaud, who helped to formulate what a state portrait should be. The Golden Age (New York: Trident Press, 1968), p. 98. [7] "The next day, the work actually continued:" Friday 11 at Versailles - The King's gout grew a little, and on leaving the sermon, where he was carried, he was carried back to Madame de Maintenon's, where Rigaud worked on his portrait..". Tableaux XVIIe siècle Louis XIV. Le portrait de Louis XIV en costume de sacre a été réalisé en 1701 par le peintre français Hyacinthe Rigaud afin de répondre à une commande du monarque qui souhaitait contenter le désir de son petit-fils, Philippe V. Louis XIV en commanda un et le fit accrocher à Versailles. Inventaire des tableaux commandés et achetés par la direction des bâtiments du roi (1709-1792), vol. V, Paris, Colin, 1931, 91-95 p. Stéphan Perreau, Hyacinthe Rigaud (1659-1743), le peintre des rois, Montpellier, Nouvelles Presses du Languedoc, 2004, Myriam Tsikounas, « De la gloire à l'émotion, Louis XIV en costume de sacre par Hyacinthe Rigaud. Possibly Marie-Caroline de Bourbon-Sicile, duchesse de Berry, 1798 - 1870. Eighteenth-Century Studies 34, no. Charles-Philippe de Chennevières-Pointel, Louis Étienne Dussieux, Paul Mantz, Antoine Joseph Dezallier d'Argenville, Abrégé de la vie des plus fameux peintres, avec leurs portraits gravés en taille-douce, les indications de leurs principaux ouvrages, Quelques réflexions sur leurs Caractères, et la manière de connoître les dessins des grands maîtres, vol. [2][3] Inv. His Most Christian Majesty is painted standing, clad in his royal apparel. Fredericksen, Burton B. Hervé Pinoteau, «Insignes et vêtements royaux». Myriam Tsikounas, « De la gloire à l'émotion, Louis XIV en costume de sacre par Hyacinthe Rigaud », Sociétés & Représentations, vol. Philippe demande à son grand-père «de lui donner aussi son portrait peint de la même main». Frel, Jiri, Burton B. Fredericksen, and Gillian Wilson. Jaime III de Borbón y Borbón, 1870 - 1931, by inheritance to his niece, Beatrice Teresa de Borbón y Borbón, 1931. The composition recalls Anthony Van Dyck’s 1635 Charles I Dismounted. 1702, pp. However, it extended the marble gallery in the background slightly, a variation followed by the engraver. A copy of this portrait, made by Pierre Legendre, is in the library of the Palais Rohan in Strasbourg, opposite the portrait of Louis XV, also in costume de sacre. Exécuté pour Louis-Henry de Bourbon, prince de Condé ; peut-être le « portrait de Louis XV en pied » cité dans l’antichambre de l’appartement du roi en 1789 (Voyage pittoresque de la France, 1789, p. 52) ; Inventaire de … Hyacinthe Rigaud (1659–1743) Alternative names: Hyacinthe François Honoré Mathias Pierre André Jean Rigaud Hyacinthe Rigaud y Ros Hyacinthe Rigault: Description: French painter, professor, draughtsman and pastellist: Date of birth/death: 18 July 1659 / 1659 29 December 1743 Location of birth/death: Perpignan: Paris: Work location Louis XIV, roi de France (1638-1715), atelier de Hyacinthe Rigaud. Rigaud a déjà combiné ces deux vêtements dans le portrait de Louis XIV de 1701. The J. Paul Getty Museum and Its Collections: A Museum for the New Century (Los Angeles: J. Paul Getty Museum, 1997), p. 31. Louis XIV kept it hanging at Versailles. 302-303. He is wearing his coronation robe embroidered with the royal fleur de lys along with some key elements of Baroque style such as the cravat, red heels, and the wig. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Marie-Caroline de Bourbon-Sicile, duchesse de Berry, Henri de Bourbon V, duke of Bordeaux and count of Chambord, Princess Beatrice Teresa de Borbón y Borbón, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), The J. Paul Getty Museum at the Getty Center (Los Angeles), June 9, 2015 to July 31, 2016. Princess Beatrice Teresa de Borbón y Borbón, 1871 - 1961 (Rome, Italy; Schloss Frohsdorf, Austria) [sold, Massimo sale, Sotheby's, London, July 20, 1938, lot 136, to J. Paul Getty.]. [15] J. Paul Getty, American, 1892 - 1976 (Malibu, California; Sutton Place, Surrey, England), donated to the J. Paul Getty Museum, 1970. Thursday, January 19, 1702, Rigaud is seeking a new session, wrote the Marquis de Dangeau: "the King, who had no advice to keep, had the patience to be painted at Madame de Maintenon's by Rigaud; he sends this portrait to the King of Spain, who had urged on ". On lit, dans les Mémoires du marquis de Dangeau : « Jeudi 10 mars 1701, à Versailles : la goutte du Roi continue ; il se fait peindre l’après-dîner par Rigaud pour envoyer son portrait au roi d’Espagne, à qui il l’a promis. Princess Beatrix de Bourbon-Massimo. © Château de Versailles, Dist. Help us improve our records by sharing your corrections or suggestions. Portrait of Louis XIV in Coronation Robes was painted in 1701 by the French painter Hyacinthe Rigaud after being commissioned by the king who wanted to satisfy the desire of his grandson, Philip V, for a portrait of him. [4] The same payment is charged to the royal buildings accounts on September 16, 1702: "Two large portraits of the King full-length, with the small sketch for the said portraits, as well as one for the full-length portrait of the king of Spain."[5]. La collection "Histoires d'histoire" est proposée par la Rmn-Grand Palais. Portrait de Louis XIV en costume de sacre Hyacinthe Rigaud Musée du Louvre. These statements are corroborated by the mention of the corresponding payment in the books of accounts of the artist, in 1701: "The King and the King of Spain, and a copy of King's portrait of the same size as the original for his Catholic Majesty, in all 12,000 pounds ", the price of three pictures. Notes Également intitulé Le Portrait de Louis XIV. LOUIS XIV EN MAJESTE. [1], Such were the statements of Hyacinthe Rigaud, through a friend, in the autobiography he sent to the Grand Duke of Tuscany Cosimo III in 1716. His original Portrait of Louis XIV of 1701, now in the Louvre, was so popular that Rigaud had many copies made, both in full and half-length formats, often with the help of assistants. Louis XIV en costume de sacre,par Hyacinthe Rigaud, 1701 L’œuvre à la loupe Ce portrait, commandé par le roi pour son petit-fils le roi d’Espagne Philippe V, servira de … II, Paris, Société de l'histoire de l'art français, 1854 On September 3, 1703, in a touching letter he wrote to the Marquise, Philip V in turn confessed: "Thank you for the care you took to get me the portrait of the king, I look forward...[8]". Getty, J. Paul. The king is depicted standing upright, three quarters to the left, his head low and his feet in view, a pose calculated to presenting the greater part of his person. "Figural Inversions of Louis XIV's Dancing Body." Guiffrey, 1896, V, p. 876, 16 février 1716. sfn error: no target: CITEREFJules_Guiffrey1881p._693. Avec ce portrait de Louis XIV, la renommée de Hyacinthe Rigaud s’accrut à tel point qu’il devint un portraitiste très en vue, sollicité par la haute société aussi bien française qu’européenne. The day before, the Marquis de Dangeau left in his journal testimony corroborating the statements of Mme de Maintenon, describing the beginning of the Louis XIV painting, painted in privacy and designed to be embedded later into the final composition: "Thursday 10 [March 1701] at Versailles - The King's gout continues, he was painted after dinner by Rigaud to send his portrait to the King of Spain to whom he promised him [...].
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