Free Group Discussion Paper-Identify examples of Maria de Medici visual propaganda Dissertation Example
Group Discussion Paper-Identify examples of “Maria de Medici” visual propaganda
The art presentation is oil on canvas done on a 394 by 295 centimeters. Cherub and Marie are the only duos having a look at the viewer with consideration of the future importance and central authority of Marie and her progeny for France. A burly vertical axis connects the painting from the top via Marie de Medici showing the fertile maternal linkage between mothers and wives. The artist’s great inspiration was Titian from the Venetian renaissance (Forster, 99).
Some of the suggestions was that the Medici produced two queens and four popes of France. The intended audience included Donatello, Brunelleschi, Galileo, Michelangelo, and Leonardo. The idea of decorating the western and eastern galleries of the Luxembourg palace was meant to celebrate the triumphs and battles of Henry IV. The wing of the west held and displayed the heroic and glorious life of Marie de Medici.
On deciding what to use, the body is drawn in contorted positions in the classical style of the ancient Rome and Greek with occasional erotism and intense realism. The artist wanted the viewer to ponder the works emotional aspects. The inclusion of iconography in the portrait of females was meant to display equal status with men. The image displays Marie de’ Medici as soft, sensual, desirable, and beautiful. There is the use of symbolism and layered metaphor in the portrait.
The winged gods of marriage and love symbolize the portrait of the queen to the enamored King Henry IV of Navarre. The cupid gestures and praises the beauty of the queen. Juno and Jupiter look down from above in endorsement. Some of the suggestions involved the personification of France standing behind Henry with encouragements of marriage for political reasons. The King’s and Queens’ several details had been painted by Rubens. Looking at the image, the couple is satisfied and blissful, leaning to each other as their hand’s touch. Lady France is wearing a blue robe and a plumed helmet with an embroidered fleur-de-lys.
Being the second wife of King IV of France, Marie de’ Medici was crowned the queen of France. She became the member of powerful and wealthy House of Medici. Marie was noted due to her endless, extensive artistic patronage and political intrigues at the French court. Not only is the art unique, but it was also dedicated to the leading life events that go along with queens. The medium used was a print on Canvas titled Henry IV receiving the portrait of Marie de Medici. Nevertheless, the French nobles begrudged her power while acting as regent for her little son who lined the France realm for seven years (Carter, 102). The image symbolizes Marie’s life with regards to prosperity and peace that she came with to the throne through devotion to her husband, wisdom, and strategic marriage alliances.
The presentation of the portrait forms part of the idealized conclusion in April 1600 with consideration of two-year making marriage negotiations. The art gives Henry’s betrothal to Marie to symbolize an ordained union by the gods. Henry had been distracted from the talks by the new mistress that had been promised marriage. There was a financial and political necessity on the Marie marriage. Marie’s immense dowry reduced Henry’s massive debt to the Medici, particularly regarding the military activities. The theme of peace is brought up by the marriage alliances by Marie to her kids.
To conclude, the series is unprecedented and unique with a focus on the accomplishments and life of the queen. It includes an intimate, embarrassing moment of Marie’s life. The art used a sort of propaganda by over-idealizing the queen’s actual life. For instance, the marriage to the king is riddled with infidelities. The details of the commission are on the exact circumstances that the queen decided to commission Rubens paint in a truly heroic proportions. Through immortalizing her life, the Queen’s choice to commission Ruben was by trust and knowing the painter could execute the task.
Carter, Tim. “A Florentine wedding of 1608.” Acta musicologica 55.Fasc. 1 (1983): 89-107.
Forster, Kurt W. “Metaphors of Rule. Political Ideology and History in the Portraits of Cosimo I de’Medici.” Mitteilungen des Kunsthistorischen Institutes in Florenz (1971): 65-104.
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