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Art in the service of Absolutism: “The Sun King” Ruled for over 72 years

Explore the artistic indulgence of Louis XIV and the rise of the Rococo movement through the works of Hyacinthe Rigaud, Antoine Watteau, François Boucher, and more. Delve into the lavishness of Versailles and the opulence of Bavarian Rococo. Discover the Enlightenment's impact on art and society.

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Art in the service of Absolutism: “The Sun King” Ruled for over 72 years

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  1. Art in the service of Absolutism: “The Sun King” Ruled for over 72 years HYACINTHE RIGAUD (French, 1659-1743) Louis XIV (1638 – 1715), 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris.

  2. Aerial view of palace at Versailles, France, begun 1669, and a portion of the gardens and surrounding area.

  3. Plan of the park, palace, and town of Versailles, France, (after a seventeenth-century engraving).

  4. JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680.

  5. Making nature into art – Gardens of Versailles

  6. RococoIn architecture, last of the great pre-modern period styles. Ornament supercedes structure

  7. GERMAIN BOFFRAND (French Rococo architect, 1667-1754) Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.

  8. Decoration by Francois Boucher (1703-1770) Pastorale, oil on canvas, Salon de la Princesse, Hotel de Soubise, Paris, 1736-9

  9. FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century. A hunting lodge for Maria Amalia, Archduchess of Austria, the wife of Charles VII, Bavarian Rococo

  10. FRANÇOIS DE CUVILLIÉS, Detail of the Hall of Mirrors, the Amalienburg, showing silver decorative elements in floral and hunting motifs

  11. Bedroom, The Amalienburg, Munich, Bavarian Rococo, with detail of ornamental ceiling narratives in stucco and fresco.

  12. Exterior, The Amalienburg, Munich

  13. A soup tureen on view in 2008 exhibition, “Rococo: The Continuing Curve, 1730-2008,” at the Cooper Hewitt, National Design Museum. Made entirely of silver, it takes the form of a giant clamshell. On the fluted lid are the ingredients for a stew. Created between 1735 and 1740 by craftsmen under the direction of Juste-Aurèle Meissonier (1695-1750) a French goldsmith, sculptor, painter, architect, and furniture designer, Dessinateur de la chambre et du cabinet du roi; the post of designer for Louis VX

  14. ANTOINE WATTEAU (Flemish-French, 1684-1721: 37 years) L’Indifférent (The Nonchalant Man), ca. 1716. Oil on canvas, approx. 10” x 7”. Louvre, Paris.“Rubéniste” A fashionable man of leisure playing castanetes at a Fête Galante

  15. HYACINTHE RIGAUD (French) Louis XIV, 1701 / Baroque ANTOINE WATTEAU, L’Indifférent (The Nonchalant Man), ca. 1716 / Rococo.

  16. ANTOINE WATTEAU, Return from Cythera, 1717–1719. Oil on canvas, approx. 4’ 3” x 6’ 4”. Louvre, Paris.Also known as the Pilgrimage to Cythera.

  17. Rubens (Baroque) was a primary influence on Watteau (Rococo). (left) Peter Paul Rubens, The Arrival of Marie de Medici in France, 1622-25. Baroque (right) Antoine Watteau, Return from Cythera, 1717-19. Rococo

  18. For Boucher, the natural world was "too green and badly lit.” FRANÇOIS BOUCHER (French Rococo painter and decorative artist, 1703-1770), Cupid a Captive, 1754. Oil on canvas, approx. 5’ 6” x 2’ 10”. The Wallace Collection, London.

  19. FRANÇOIS BOUCHER, Madame de Pompadour, circa 1750The famous mistress of King Louis XV of France.

  20. Sèvres Porcelain Manufactory, painting attributed to Charles-Nicolas Dodin, porcelain worker, French, Sèvres, about 1760, soft-paste porcelain, polychrome enamel decoration, gilding. Chinese figures on the sides, copied by Dodin from Chinese woodcuts of about 1700. Chinoiseries

  21. JEAN-HONORÉ FRAGONARD (French, 1732-1806),The Swing, 1766. Oil on canvas, approx. 2’ 11” x 2’ 8”. The Wallace Collection, London.An “intrigue” picture

  22. Jean-Honoré Fragonard, The Secret Meeting, from The Progress of Love series, 1771-3, oil on canvas, 10’5” x 8’, Frick Collection, New York

  23. Denis Diderot (1713-1784) created the first encyclopedia to promote democratization of knowledge. Voltaire (Francois Marie Arouet, 1694-1778) – attacked both state and church of the “old regime.” Enlightenment18th century French Philosophes – the power of the pen

  24. Pin making, illustration from Diderot’s Encyclopédie (1762), engraving

  25. JOSEPH WRIGHT OF DERBY (English painter, 1734-1797), A Philosopher Giving a Lecture at the Orrery (in which a lamp is put in place of the sun), ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby, Derbyshire, England.EMPIRICISM – ENLIGHTENMENT SCIENCE AND REASON

  26. A small orrery fromthe mid-18th century. Solar system conceived as a giant clock

  27. ABRAHAM DARBY III (English, 1750-1789) and THOMAS F. PRITCHARD (English, 1723-1777), iron bridge at Coalbrookdale, England (first cast-iron bridge), 1776–1779. 100’ span.

  28. JEAN-BAPTISTE CHARDIN (French, 1699-1779), Grace at Table, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.Urban (Parisian) middle class interior.

  29. (left) Jean-Baptiste Chardin, Saying Grace, 1740. Oil on canvas (right) Bernard Lépicié, engraving after Chardin’s Saying Grace, 1744. Who were the buyers for these works? Why is there a caption under the print?

  30. JEAN-BAPTISTE-SIMÉON CHARDIN (French, 1699-1779), Grace at Table, 1740. Oil on canvas, 1’ 7” x 1’ 3”. FRANÇOIS BOUCHER (French, 1703-1770), Cupid a Captive, 1754. Oil on canvas, approx. 5’ 6” x 2’ 10”.

  31. William Hogarth (English, 1697-1764), Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, approx. 2’ 4” x 3’. National Gallery, London.Social Satire – artist as moralist. English Rococo

  32. William Hogarth (English, 1697-1764), The Death of the Countess, from The Marriage-a-la-mode series, 1743-5, oil and engraving . Series was painted to be reproduced and sold to a large middle-class audience.

  33. Jean-Baptiste Greuze, Filial Piety (The paralytic) 1763, oil on canvas, 43X57”, The State Hermitage Museum, St. Petersburg, Russia

  34. JEAN-BAPTISTE GREUZE (French, 1725- 1805), The Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris. Rousseau’s exaltation of the peasant’s simple life. Bourgeois (middle class) patronage

  35. Gabriele Jacques de Saint Aubin (French 1724-1780) Salon of 1767, pen and ink, watercolor, and gouache

  36. Michelangelo, Prophet Isaiah, Ceiling of the Sistine Chapel, the Vatican. Inspiration for Reynolds Sir Joshua Reynolds (English, 1723-1792), Mrs Siddons as the Tragic Muse, 1789. Oil on canvas, 7’11” X 4’ 10,” Dulwich Picture Gallery, London.

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