In 17th and 18th century France absolutism was a key element in baroque art. The expression of absolutism was demonstrated by the baroque style and highlighted things such as military strength and monarch power. It was the billboard for advertising and encouraging things like loyalty and assurance in the ruler, monarchs would use baroque art, sculptures and architecture to impress and represent themselves as god like people. Louis the XIV is famous for the huge displays he put on in his courtyards, and his portraits where he would depict himself as a godlike being, comparable to Apollo.
This brings me to the baroque artwork itself. The ominous style was used as a powerful vehicle for propaganda of the church and thrown, they used it to
Absolutism was at its most popular in the 17th century. Monarchs Louis XIV who ruled France from 1643 to 1715, and Peter the Great who ruled Russia from 1682 to 1725 both secured absolute power in their kingdom. Peter the Great, however, managed to accomplish more during his reign than Louis XIV with politics and military. Peter was able to tax his nobles but still keep their loyalty and also change how his army was run by using Prussian organization and discipline.
During the Age of Absolutism, views of how government should have been run were drastically different that the views of Enlightenment thinkers. The fundamental difference between these two views of government – absolutism and Enlightenment – was that, in an absolute view of government, it stated that it should be run by a monarch – such as a king or a queen – and that he or she should have complete and unquestionable authority over everything, whereas the Enlightenment resulted in the development of new ideas, many of which criticized absolute monarchies, such as the idea that the fundamental function of government was to protect it's people's rights. The Enlightenment thinkers all had different ideas, and all to varying degrees, but the main theme is that all of their ideas criticized absolutism (except for Hobbes) and resulted in the gradual rejection of it.
So, I read and reviewed five volumes that I found to be representative of the recent scholarship on Renaissance Imperial power structures in Italy, the works span a range of imperial topics from Italian Cardinals and the Papacy, to the absolutist rulers of Italian cities like Milan and Florence. The works themselves are of course: Jane Black’s Absolutism in Renaissance Milan: A Plenitude of Power under the Visconti and the Sforza 1329-1535, Charles Stinger’s The Renaissance in Rome, Gerard Noel’s The Renaissance Popes: Statesmen, Warriors, and the Great Borgia Myth, Margaret Ann Zaho’s Imago Triumphalis: The Function and Significance of Triumphal Imagery for Italian Renaissance Ruler’s, and finally K.J.P. Lowe’s Church and Politics
The late sixteen-hundreds were a time of absolute monarchies, budding representative governments, and revolution (the Revolution in 1688 in particular). The people of this time, of course, had opinions about the ways things should be done and what kind of government should, and could, really work for the people. Even the idea of the government being a system that ultimately should work for the benefit of the people was a point of conflict in some circles. Two examples of men with strong opinions about absolutism were Bishop Jaques-Bénigne Bossuet, Louis XIV’s court preacher and tutor to Louis XIV’s son, and John Locke, arguably the most prominent English philosopher in his day. While Bossuet and Locke differed greatly in their views of what
Frightfully stimulated as a child from a home intrusion by Parisians during an aristocratic revolt in 1651, Louis XIV realized his rule would be decisive, militant, and absolute (458). His lengthy reign as Frances’ king and how he ruled would be the example that many countries throughout Europe would model their own regimes under. With this great authority also came greater challenges of finance and colonization. In the 17th century, the era of absolute monarchs was the means to restore European life (458). Louis XIV exemplified absolutism, and his ruling set the example for other monarchs throughout Europe.
Louis XIV is considered the “perfect absolutist” and he has been said to have been one of the greatest rulers in France’s history. He came up with several different strategic plans to gain absolute
The growth of European absolutism led to many different types of war and call for independence. One of the effects of absolutism was the European Civil War. This war, starting at 1642 and ending at 1649, was between the supporters of King Charles I and his opponents; he was an absolute monarch. An absolute monarch was a king or queen that had total control within their states' boundaries; this made him do whatever he wanted in England and it angered some people. King Charles had offended the Puritans by turning the kingdom to Anglicanism, and he offended the Parliament by putting them away from session because they bothered him about a petition he signed but ignored. All of those factor led to the English Civil War.
In the seventeenth century, both England and France were going through religious and political turmoil. The religious problems were associated with the religions protestant and Calvinists coming out and fighting to be accepted. One of the political turmoils was that both countries were being changed how they were being run, the amount of money had, spent and what was accepted. One of the biggest problems for England and France was the thirty years’ war, which began with conflicts between Catholics and Protestants within the Holy Roman Empire, it involved most European states. The war ended with many central European lands in ruins and the balance of power shifted toward France, England, and the Dutch Republic. France for years had to raise
During the late 17th and early 18th century, many European nations such as France and Russia were absolute monarchies. Even countries such as England had kings who at least attempted to implement absolutism. Indeed the concept of absolutism, where the monarch is the unquestionably highest authority and absolute ruler of every element in the realm, is certainly appealing to any sovereign. However, this unrestricted power was abused, and by the end of the 18th century, absolutism was gone. Absolutism failed because the monarchs' mistreatment of the population caused the people to revolt against their rule and policies. There are many factors which caused this discontent. For one, there was a great loss of human lives. Louis XIV of France participated in four wars, while Peter of Russia ruthlessly executed anyone who stood against his will. Secondly, monarchs attempted to change religious beliefs. This was notable in England where rulers such as James II desired to convert the Anglican nation into Catholicism. Finally, the burden of taxation was more than the population could support. France was brought into huge foreign debt, English kings constantly attempted to raise money, and Peter of Russia increased taxes by 550 percent. These are some of the key reasons why absolutism failed in Europe.
While the Flemish were proficient in oil painting, Italian Renaissance artists continued their predecessor’s use of tempera. Furthermore, the paintings were ultimately created for different purposes and separate viewers. Although both works are centered on the defining moment of the annunciation, The Merode Altarpiece incorporates this scene into a secular setting, therefore differing from Fra Angelico’s The Annunciation which was painted for a monastery. Finally, Flemish and Italian Renaissance paintings differ in levels of realism. Although the Flemish painters were skilled in portraying realism of physical forms, they lacked a full understanding of linear perspective. In contrast, the Italian Renaissance artists were well versed in linear perspective but lacked a complete grasp of the natural
One of the most important elements of Versailles that affected Louis XIV’s reign was the use of propaganda. The Palace contained “paintings, statues, tapestries” (Page) and a general grandness that significantly promoted Louis’ name. Louis himself was a “prominent subject in the artwork” (Montclos 330) and was portrayed as handsome and god-like. Even in the aspects of the Palace where Louis wasn’t literally being represented, the grand nature of Versailles sent out a message that the King was living lavishly, and was therefore very powerful. Louis XIV used the grandiosity of his Palace and the art inside to promote himself to his people.
Absolute monarchy or absolutism meant that the sovereign power or ultimate authority in the state rested in the hands of a king who claimed to rule by divine right. But what did sovereignty mean? Late sixteenth century political theorists believed that sovereign power consisted of the authority to make laws, tax, administer justice, control the state's administrative system, and determine foreign policy. These powers made a ruler sovereign.
As we covered the Enlightenment, Dr. Dowling made one thing very clear: the profits made from colonization and slavery abroad almost exclusively funded The Enlightenment. The age of colonization and imperialism caused many lasting effect on host countries, and the people who inhabited them, including allusions to The Enlightenment. Two contrasting political theories worked simultaneously in The Enlightenment that significantly shaped the practices of colonization and imperialist practices; liberalism and absolutism.
Peter Paul Ruben’s art is a combination of the traditional Flemish realism with the classicizing tendencies of the Italian Renaissance style. Peter Paul Rubens had the cunning ability to infuse his own incredible vigor into a potent and extravagant style that came to define Baroque art movement of the 17th century. “Baroque art characterized by violent movement, strong emotion, and dramatic lighting and coloring.” The figures in his paintings create a permeating sense of kinetic lifelike movement, while maintaining the appearance of being grand in stature yet composed.
One of the characteristics of the Italian Baroque is the realistic depiction of human figures, vivid use of color and foreshadowing techniques, especially in the paintings. In addition, the figures of the paintings seem to emerge from the background, giving huge differences between light and dark. The Italian baroque structure has a sense of movement and that of energy when in static form. The sculptures make the observers to have multiple viewpoints. The Baroque architecture has characteristic domes, colonnades, giving an impression of volume and void.