Rubens and the Baroque Period For this formal analysis paper I would like to talk about a painting done by the artist named Peter Paul Reubens. The piece itself is entitled, "The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610." The painting was completed in the year 1610, and today it is on display at the Louvre in Paris, France. This painting was one of many that I had to choose from when I was deciding on what to write about. Many internet sites
beginning of the 17th century, France was a place of internal strife and bickering bureaucrats. The king, Louis XIII, had come to the throne in 1610 at the age of nine, leaving the running of the kingdom to his mother, Marie de Medici. One of her court favorites, Armand de Plessis de Richelieu, rose through the ranks, eventually gaining the title of Cardinal and becoming one of Louis’ key advisors and minister. His political manifesto, Political Testament, was a treatise for King Louis XIII that
through marriage to Francoise de Rochechouart, an important family at the time. Louis died young and left five sons, the second oldest of whom, Francois, was Richelieu's father. Francois also died young, leaving his family in dire financial straits due to some poor investments. As a child, Richelieu was sickly and unfortunately would suffer from various maladies for the rest of his life. Armand was extremely intelligent and at the age of nine was sent to College de Navarre in Paris. Originally,
of developing characters and their respected standard historical interpretations. By heavily characterizing the protagonist, Margaret of Valois, audience members were given the ability to identify with her. Similarly, the Queen regent, Catherine de Medici remained heavily mythologized in the film to advance the plotline. The overall success of the film can thereby be attributed to the prominence of the representation of historical figures. The filmmakers modernized the characterization of Margaret
Changing Interpretations of The Prince and Niccolo Machiavelli After five hundred years, Niccolo Machiavelli the man has ceased to exist. In his place is merely an entity, one that is human, but also something that is far above one. The debate over his political ideologies and theories has elevated him to a mythical status summed up in one word: Machiavelli. His family name has evolved into an adjective in the English language in its various forms. Writers and pundit’s bandy about this new
Between the 1300s and 1500s, Europe experienced a period of cultural rebirth known as the Renaissance, marking the transition from medieval times to modern times. The Renaissance brought new importance to individual expression, self-consciousness and worldly experience. The Renaissance man and woman characterized the Renaissance ideals. A renaissance man was a well- educated gentleman who had cultural grace, courage and who understood the arts and sciences. On the other hand, a Renaissance woman
current Pope, Alexander VI. He invited Charles to come in, depose him and spark off the eagerly awaited church reform. Events 1494-1516: - There was a mixed reaction to the arrival of Charles in Italy. Florence revolted against its leader, Piero de Medici. The Popes army deserted him. In Naples the king died and rather than unite against his son the populous decided to capitulate. There was however some reaction against Charles’ activities. Ferdinand of Aragon decreed that since Naples was subject
of government that he would rather have it be a strong yet merciful tyranny. He wasn’t paid for writing The Prince, it wasn’t even originally a book, but a series of letters to the Prince Lorenzo de Medici. He wrote it during exile, after he had been arrested and tortured by Medici’s people, so it is doubtful that they had a bountiful relationship. Machiavelli’s intent, it would seem to the naked eye, was not to taunt the Prince, but to give him advice about how to survive
reflections of the social ideals of the time. Hence by comparing and contrasting a range of different portraits of depicting men and women of the Renaissance such as Titian’s La Bella, Bronzino’s Eleonora de Medici, Sofonisba Anguissola’s Self Portrait, Vasari’s Alessandro de Medici, Bronzino’s Cosimo de Medici as Orpheus and Pedro Berruguete’s Portrait of Federico da Mentelfeltro, viewers can gain an understanding of the conceptual differences in definitions of masculine and feminine beauty during this period
powerful city in all of Italy. Lorenzo de Medici was the baby that would control the city of Florence and lead Florence into a great state of royalty. Born into a family of powerful bankers that ruled Florence Lorenzo would soon enough lead the city and soon be called "il Magnifico". From mentoring of childhood to the ruling of adulthood Lorenzo was a light to the people in Florence. Through Lorenzo's childhood he was mentored from his grandfather Cosimo de Medici to follow in his footsteps to control
Venetians on the other hand controlled most of the trade and shipping in the northern Italy. The Medici family ran Florence’s banking and international finance; they were an influentional family in the Renaissance Italy. The Medici family was well accomplished and famous for their banking systems, especially the double entry system. This system was introduced by Giovanni Bicci de Medici. This system made it easy to record credits and debits for the person writing them, while registering money
Application List to ways that Machiavelli’s book might have given him favor with the ruthless Medici rulers. Machiavelli desperately wanted to return to politics. One of his goals in writing The Prince was to win the favor of Lorenzo de’ Medici, then-governor of Florence and the person to whom the book is dedicated; Machiavelli hoped to land an advisory position within the Florentine government. But Medici received the book indifferently, and Machiavelli did not receive an invitation to serve as an
Lorenzo de’ Medici The world’s greatest impact on the renaissance was a single man named Lorenzo de’ Medici.It was mainly because of him that the renaisance ended up being the way it turned out to be. Lorenzo allowed up and coming artists to become big and successful because of him, this was all because he was able to fund them and allow them to get paid even if they weren’t that big encouraging others to do the same. Lorenzo didn’t make his fortune by himself, in fact his fortune came from inheritance
The two tomb projects are; The Julius Tomb and The Medici Tombs. The Julius Tomb was commissioned by Pope Julius II in 1505, from drawings made by Michelangelo Pope Julius selected a huge three level monument with over 40 statues. The project was to be completed in five years and Michelangelo was to be paid 10,000 ducats. The Tomb was to be placed in the unfinished Quattrocento choir of St. Peter’s. However Julius decided to build a new church and lost interest in the Tomb project, perhaps because
Michelangelo cultured in his couple years at the Medici household certainly contributed to his future success. Furthermore “Lorenzo de Medici commissioned the first two works attributed to the young artist, "Madonna of the steps" and 'Battle of the Centaurs', both completed in 1492.” (PBS). Once Lorenzo died, Michelangelo briefly moved back in with Lodovico. At this time, the Medici’s became involved in political turmoil which ended in 1494. The Medici family was expelled from Florence by the newly
the online article "The Special Case of the Medici: Experts in Self-Promotion,” which is a source in association with the National Gallery of Art, and the purpose of this article was to inform of the different ways the Medici Family used art during the Renaissance to promote themselves among the city of Florence. The source includes opinions of Artistotle; Vespasiano da Bisticc, a librarian of the early Renaissance period; and close friends of the Medici family, such as Poliziano. This article was
Angels and Singers adorn the walls in the private chapel of the Palazzo Medici Riccardi in Florence. The three main walls of the chapel hold the largest fresco, the Procession of the Magi, for which the chapel has since become know as the Magi Chapel. The frescoes led to an altarpiece painted by Filippo Lippi that depicted the Madonna’s Adoration of the Child. The chapel was commissioned by Piero de Medici, son of Cosimo de Medici, who at the time was ailing in his dotage in the countryside. The
Jacopo de Pontormo was a Florentine artist who was mostly funded by the wealthy Medici family. Decades before Pontormo received funding from the Medici patronage, Lorenzo—the most notable of the Medici family due to his control over Florence—died resulting in a cataclysmic Florence. After his death, the Medici family was exiled from Florence until they returned in 1512, when they started aiding Pontormo. One of Pontormo’s most recognizable artworks is The Entombment of Christ, which he painted from
Among these families is the house of Medici, who can ultimately be held accountable for the patronage of artists such as Michelangelo and Botticelli. Although the Medici family was responsible for such sponsorships, they were ultimately evil because of their gain of power through deception, absolute control, and plutocracy. This can be proven by the lives of Cosimo de’ Medici, Lorenzo de’ Medici, Giovanni de’ Medici, and Giuliano de’ Medici. Firstly, the Medici were evil because of their usage of
prosperous city; it made fortunes off of wool and banking trades. A certain Florentine family contributed to the vast wealth as well. The Medici family was no doubt the foundation of prosperity for Florence. The Medici Family was one of the most powerful families of Renaissance Florence. They were a banking family. The first Medici bank, started by Giovanni di Becci de’ Medici, was a small scale business run in the bathroom. The bank grew through Giovanni’s extraordinary salesmanship and financial caution