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    17th-Century French Art Is Generally Referred To As

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    Jerome Brusas
    17th century French art was influenced by both northern European and Roman styles. Under Louis XIII, French art showed influences from Dutch, Flemish, and Roman schools. Artists debated between Rubens' Flemish Baroque style and Poussin's classical Roman style. Under Louis XIV, France's style became more classical and restrained compared to other European Baroque styles. Louis transformed the Palace of Versailles into an opulent residence and propaganda for his reign, establishing French dominance in art through the royal academy and control over production.

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    17th-Century French Art Is Generally Referred To As

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    Jerome Brusas
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    17th century French art was influenced by both northern European and Roman styles. Under Louis XIII, French art showed influences from Dutch, Flemish, and Roman schools. Artists debated between Rubens' Flemish Baroque style and Poussin's classical Roman style. Under Louis XIV, France's style became more classical and restrained compared to other European Baroque styles. Louis transformed the Palace of Versailles into an opulent residence and propaganda for his reign, establishing French dominance in art through the royal academy and control over production.

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    17th century French art was influenced by both northern European and Roman styles. Under Louis XIII, French art showed influences from Dutch, Flemish, and Roman schools. Artists debated between Rubens' Flemish Baroque style and Poussin's classical Roman style. Under Louis XIV, France's style became more classical and restrained compared to other European Baroque styles. Louis transformed the Palace of Versailles into an opulent residence and propaganda for his reign, establishing French dominance in art through the royal academy and control over production.

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    © All Rights Reserved
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    11 views3 pages

    17th-Century French Art Is Generally Referred To As

    Uploaded by

    Jerome Brusas
    17th century French art was influenced by both northern European and Roman styles. Under Louis XIII, French art showed influences from Dutch, Flemish, and Roman schools. Artists debated between Rubens' Flemish Baroque style and Poussin's classical Roman style. Under Louis XIV, France's style became more classical and restrained compared to other European Baroque styles. Louis transformed the Palace of Versailles into an opulent residence and propaganda for his reign, establishing French dominance in art through the royal academy and control over production.

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    5/20/2020 17th-century French art - Wikipedia

    17th-century French art


    17th-century French art is generally referred to as
    Baroque, but from the mid to late 17th century, the style of
    French art shows a classical adherence to certain rules of
    proportion and sobriety uncharacteristic of the Baroque as
    it was practiced in most of the rest of Europe during the
    same period.

    Contents
    Louis XIII style
    Et in Arcadia ego by Nicolas Poussin
    Residential architecture
    The court of Louis XIV
    See also
    References and further reading

    Louis XIII style


    In the early part of the 17th century, late mannerist and early Baroque tendencies continued to flourish
    in the court of Marie de' Medici and Louis XIII. Art from this period shows influences from both the
    north of Europe (Dutch and Flemish schools) and from Roman painters of the Counter-Reformation.
    Artists in France frequently debated the merits between Peter Paul Rubens (the Flemish baroque,
    voluptuous lines and colors) and Nicolas Poussin (rational control, proportion, Roman classicism).

    There was also a strong Caravaggio school represented in the period by the candle-lit paintings of
    Georges de La Tour. The wretched and the poor were featured in an almost Dutch manner in the
    paintings by the three Le Nain brothers. In the paintings of Philippe de Champaigne there are both
    propagandistic portraits of Louis XIII' s minister Cardinal Richelieu and other more contemplative
    portraits of people in the Jansenist sect.

    Residential architecture
    However, under Louis XIV, the Baroque as it was practiced in Italy was not in French taste (Bernini's
    famous proposal for redesigning the Louvre was rejected by Louis XIV.) Through propaganda, wars and
    great architectural works, Louis XIV launched a vast program designed for the glorification of France
    and his name. The Palace of Versailles, initially a tiny hunting lodge built by his father, was transformed
    by Louis XIV into a marvelous palace for fêtes and parties. Architect Louis Le Vau, painter and designer
    Charles Le Brun and the landscape architect André Le Nôtre created marvels : fountains danced;
    wandering revelers discovered hidden grottos in the gardens.

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    The initial impetus for this transformation of Versailles is generally linked to the private château Vaux-
    le-Vicomte built for Louis XIV's minister of Finance Nicolas Fouquet. Having offered a lavish festival for
    the king in the newly finished residence in 1661 (Le Brun, Le Vau, Le Nôtre, the poet La Fontaine, the
    playwright Molière were all under Fouquet's patronage), the minister was accused of misappropriation
    of funds and was sentenced to life imprisonment. The architects and artists under his patronage were all
    put to work on Versailles.

    Versailles: Louis Le Vau's cour d'honneur

    The court of Louis XIV


    In this period, Louis' minister Jean-Baptiste Colbert established royal control over artisanal production
    in France; henceforth France would no longer purchase luxury goods from abroad, but would, herself,
    set the standard for quality. This control was also seen in the creation of an academy of painting and
    sculpture, which maintained a hierarchy of genres in painting (the "noblest," according to André Félibien
    in 1667, being history painting), a strong use of pictorial rhetoric, and a strict sense of decorum in
    subject matter.

    Furnishings and interior designs from this period are referred to as Louis XIV-style; the style is
    characterized by weighty brocades of red and gold, thickly gilded plaster molding, large sculpted
    sideboards, and heavy marbling.

    In 1682 Versailles was transformed into the official residence of the king; eventually the Hall of Mirrors
    was built; other smaller châteaux, like the Grand Trianon, were built on the grounds, and a huge canal
    featuring gondolas and gondoliers from Venice was created.

    Through his wars and the glory of Versailles, Louis became, to a certain degree, the arbiter of taste and
    power in Europe and both his château and the etiquette in Versailles were copied by the other European
    courts. Yet the difficult wars at the end of his long reign and the religious problems created by the
    revocation of the Edict of Nantes made his last years dark ones.

    See also
    French artists of the seventeenth century
    French Baroque architecture
    Baroque painting
    Classicism
    Louvre Colonnade
    Style Louis XIV
    Louis Quinze

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    References and further reading


    Anthony Blunt: Art and Architecture in France 1500-1700 ISBN 0-300-05314-2
    André Chastel. French Art Vol III: The Ancient Régime ISBN 2-08-013617-8

    Retrieved from "https://en.wikipedia.org/w/index.php?title=17th-century_French_art&oldid=934922276"

    This page was last edited on 9 January 2020, at 09:20 (UTC).

    Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site,
    you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a
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