How Did Louis Xiv Use Art as a Tool of the Monarchy? Quizlet
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THE Arrangement OF THE ARTS
NEVER before or after, excepting perhaps nether Pericles, has a government so stimulated, nourished, or dominated fine art every bit nether Louis XIV. Richelieu's fine gustation and judicious purchases had helped the recovery of French art from the Religious Wars. During the regency of Anne of Republic of austria individual collectors-nobles and financiers-had begun to vie with ane another in gathering works of art. Pierre Crozat, a broker, had a hundred paintings past Titian, a hundred past Veronese, 2 hundred by Rubens, over a hundred by Vandyck. Fouquet, as we accept seen, amassed paintings, statues, and lesser objects of art at Vaux, with more discrimination than discretion. Louis, destroying him, inherited his acquisitions; and in fourth dimension several other private collections were gathered into the Louvre or Versailles. Mazarin had put function of his hoard into art more than likely than coin to escape depreciation. His fine Italian taste shared in forming the classical bias of the King, and it was probably he who taught Louis XIV that it redounded to the glory of a ruler to accumulate, display, and foster art. These collections provided the stimulating exemplars and stabilizing norms for fine art teaching and development in France.
Investing in the arts Colbert and Mazarin
The next step was to organize the artists. Here too Mazarin led the mode. In 1648 he founded the Academie de Peinture et de Sculpture; in 1655 this received a lease from the King, and became the outset in a serial of academies designed to train artists and direct them into the service and adornment of the state. Colbert took up where Mazarin left off, and brought to a head this centralization of French art. Though himself laying no claim to artistic judgment, he aspired "to make the arts flourish better in France than anywhere else." He began by ownership for the King the tapestry works of the Gobelins (1662). In 1664 he acquired the mail of superintendent of buildings, . which gave him control of architecture and its coincident arts. In that year he reorganized the Academy of Painting and Sculpnlre as the Academie Royale des Beaux-Arts. Henry IV had housed in the Louvre a guild of artisans to beautify the royal palaces; Coibert made these men the nucleus of the Manufacture Royale des Meubles de la Couronne-the Majestic Manufactory of Furniture for the Crown (1667). In 1671 he established the Academie Royale de l' Compages, where artists were induced to build and decorate in Ie bon gout approved by the Male monarch. In all these societies the artisans were brought nether the direction of artists, and these under the guidance of one policy and style.
Transporting the celebrity of the Roman emperors to the King and upper-case letter of France
To reinforce the classical bent that French art had received nether Francis I, and cleanse it from Flemish influences, Colbert and Charles Le Brun set up up in Rome the Academie Royale de France (1666). Students who had won the Prix de Rome in the Paris academies were sent to Italy, and were
maintained at that place for 5 years at the expense of the French authorities. They were required to rise at five o'clock in the morning and to retire at ten o'clock at night; they were trained in copying and imitating classical and Renaissance models; they were expected to produce a "masterpiece" (in the guild sense) every three months; and when they returned to France the state had get-go option on their services. The result of this fostering and nationalization of art was an impressive, overwhelming production of palaces, churches, statues, pictures, tapestries, pottery, medallions, engravings, and coins, all stamped with the pride and taste-ofttimes with the features-of Le Roi Solei!. It was non a subjection of French fine art to Rome, as some complained; information technology was a subjection of Roman art to Louis Fourteen. The fashion aimed to be classical, for that manner agreed with the majesty of states and kings. Colbert poured French money into Italy to purchase classical or Renaissance fine art. Everything was done to ship the glory of the Roman emperors to the King and capital letter of France. The result
amazed the globe.
He gave greater encouragement to the arts than all his fellow kings together
Louis XIV became the greatest patron of art that history has known. He "gave greater encouragement to the arts" (in the judgment of Voltaire) "than all his fellow kings together."! He was, of class, the most openhanded collector. He enlarged the number of paintings in his galleries from 2 hundred to twenty-five hundred; and many of these pictures were the production of royal commissions to French artists. He bought so many pieces of classical or Renaissance sculpture that Italy feared artistic denudation, and the Pope forbade the further export of fine art. Louis engaged men of talent similar Girardon or Coysevox to make copies of statues that he could non buy; and seldom take copies then rivaled their originals. The palaces, gardens, and parks of Paris, Versailles, and Marly were peopled with statuary. The surest way to the King's favor was to present him with a work of unquestioned beauty or established repute; then the city of Aries gave him its famous Venus in 1683. Louis was not stingy; each year, in Voltaire'southward approximate, he bought French art products to the value of 800,000 livres, and made gifts of them to cities, institutions, and friends, aiming at once to support the artists and to disseminate a sense of beauty and a feeling for art. The taste of the King was good, and immensely benefited French art, but it was narrowly classical. When he was shown some paintings by the younger Teniers he commanded, "Elllevez-moi ces grotesques! Accept away these crudities!" Under his favor artists rose considerably in earnings and social condition. He gave the cue by personally honoring them; and when someone complained of the patents of dignity that he conferred on the painter Le Brun and the architect Jules Hardouin-Mansard, he replied, with some warmth, "I can make xx dukes or peers in a quarter of an hr, but it takes centuries to make
a Mansard." Mansard was paid eighty thousand livres per year; Le Brun reveled in the opulence of his mansions at Paris, Versailles, and Montmorency; Largilliere and Rigaud received six hundred livres per portrait. "No creative person of worth was left in poverty."
The new Part of the Cities in the Age of Louis Xiv
In honoring and rewarding fine art the provinces emulated the capital" and nobles followed the lead of the Male monarch. The cities adult art schools of their own-at Rouen, Beauvais, Blois, Orleans, Tours, Lyons, Aix-enProvence, Toulouse, Bordeaux. The role of the nobles as patrons macerated as [he state captivated the bachelor talent, but it continued; and the trained taste of the most adult aristocracy in Europe contributed to found the exquisite style of art productions nether Louis XIV. Men and women born to privilege and wealth, and reared in good manners amid handsome environs and objects of dazzler, acquired standards and tastes from their elders and their surroundings; and the artists had to encounter those standards and satisfy those tastes. As moderation, self-restraint, elegant expression, svelte motion, and polished class were ideals of the French aristocracy in this historic period, it demanded these qualities in art; the social structure favored the classic style. Fine art profited from these influences and controls, merely it paid a toll. Information technology lost affect with the people, it could not express them every bit Dutch and Flemish art expressed the Netherlands; information technology became the voice non of the nation merely of a class, the state, and the Rex. We shall not find in the art of this menstruum much warmth or depth of feeling, not the rich tints and arable mankind of Rubens, nor the profound shadows enveloping Rembrandt'south rabbis, saints, and financiers; we shall run into no peasants, no workers, no beggars, but only the pretty happiness of the superlative of the globe.
Charles Le Brun and Sebastien Bourdon
To the joy of Colbert and his master, they institute in Charles Le Brun a man who could be at once a zealous servant of the government and a dominating magistrate of this classic style. In [666, on Colbert'due south recommendation, Le Brun was fabricated chief painter to the King, and managing director of the Academie des Beaux-Arts; a yr afterward he was put in charge of the Gobelin factory. He was commissioned to superintend the pedagogy and performance of artists, with a view to developing in their products a harmony of style distinctive and representative of the reign. 'Vith the help of likeminded subordinates Le Beun established in the Academy lecntres, by which the principles of the classic style were inculcated with precepts, examples, and authority. Raphael amidst the italians,
Poussin among the French, were the favored models; every painting was judged by the canons derived from their art. Le Brun and Sebastien Bourdon formulated these rules; they exalted line in a higher place color, field of study above originality, order above freedom; the task of the artist was not to
copy Nature bur to brand her beautiful, not to mirror her disorder, imperfections, and monstrosities every bit well every bit her incidental loveliness, but to select those features of her that would enable the soul of human to limited its deepest feelings and highest ideals. The architects, the painters, the sculptors,
the potters, the woodworkers, the metalworkers, the glassworkers, the engravers were to utter with 1 harmonious voice the aspirations of French republic and the grandeur of the Male monarch.
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Source: https://about-history.com/louis-xiv-greatest-patron-of-art-that-history-has-known/
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