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LE GRAND CONDÉ the Rival of the Sun King? 5 September 2016 _ 2 January 2017 LE GRAND CONDÉ The Rival of the Sun King? PRESS DOSSIER JUNE Administrative Commission Mathieu Deldicque, Curator of National Heritage at the Musée Condé, With the assistance of Astrid Grange Collaborators Exhibition organized with the exceptional participation of the Musée de l’Armée (Museum of the Army) The Musée de l’Armée offers one of the richest collections of military history in the world, with more than 500,000 pieces ranging from the Bronze Age to the 21st Century. Created in 1905, the museum is located at the heart of the Hôtel des Invalides in Paris and offers a diverse range of culture programs for all, with exhibitions, concerts, screenings, confe- rences, events and theatrical displays. In 2015, it welcomed more than 1.4 million visitors, which classes the museum as the 5th most visited museum in France. Beançon, The Musée des Beaux-Arts and the Musée du Temps Chaalis, Abbaye Royale, Musée Jacquemart-André Chambord, Domaine National Corsaint, Église Saint-Maurice Dole, The Musée des Beaux-Arts London, Victoria and Albert Museum Modena, Archivo di Stato Paris, Bibliothèque Mazarine Paris, Bibliothèque Nationale de France Paris, The Musée Carnavalet-Histoire de Paris Paris, Mobilier National Paris, The Musée des Arts Décoratifs Paris, The Musée d’Orsay Paris, The Musée du Louvre Versailles, The Musée National des Châteaux de Versailles et de Trianon Patrons of the Exhibition Set Arrangement Design Translation of the Press Dossier Pearce Denmark Groover TABLE OF CONTENTS LETTER TO THE PRESS .......................................................................................... 4 ORGANIZATION OF THE EXHIBIT ..................................................................... 6 Setting Part One: Heroism and Glory, Despite the Rest Part Two: Intimacy and Apotheosis Important Works of the Exhibition BIOGRAPHY OF THE GRAND CONDÉ ............................................................. 20 VISUAL REFERENCES AVAILABLE TO THE PRESS .................................... 22 ABOUT THE EXHIBIT ............................................................................................... 24 THE DOMAINE DE CHANTILLY ......................................................................... 25 PRACTICAL INFORMATION .................................................................................. 26 LETTER TO THE PRESS From 5 September 2016 to 2 January 2017, the Domaine de Chantilly will honour, in the Salle du Jeu de Paume, one of the most famboyant characters of French history: Louis II de Bourbon, prince de Condé (1621-1686), better known as the Grand Condé. Prince of War, Prince of Art This exhibition— the frst of its kind on the subject!— will allow for the discovery of the personality of the man who was both the greatest warrior of his time and a veritable hero, as well as a rebel dissenter at the time of the Fronde. The exhibit will invite visitors to ask themselves if the frst ranking Prince of the Blood truly rivalled his cousin Louis XIV in the domain of politics and military prowess, as well as in that of culture and the arts (by virtue of making Chantilly an “anti-Versailles”, freer and more tolerant); but it will also demonstrate how much this royal cousin was, after all, one of the king’s greatest admirers. The Grand Condé was most certainly an amateur art lover. The exhibition will be the occasion to discover the gems of his painting collection, where works of the old masters (Van Dyck) brushed shoulders with the greatest painters under the reign of Louis XIV (Le Brun, Mignard). The Prince was equally enamoured of literature and of the theatre, welcoming Molière, Racine, Boileau, and La Fontaine into his Château de Chantilly. The Château de Chantilly under the Grand Condé It was in fact the Grand Condé who transformed Chantilly in order to make of it a prestigious residence worthy of a prince. He called upon the gardener André Le Nôtre, to create the sumptuous park that has come down to us today, and upon the famous maître d’hôtel Vatel to organize remarkable parties that made Chantilly’s reputation. The public will be able to rediscover the considerable history of a Vatel who at the time was still grand master of the Prince’s entertainments, though disgraced by the tardy arrival of seafood to be consumed on a Friday amidst the festivities organized by the Grand Condé in honour of the king in 1671. His tragic end—he committed suicide by driving a sword through his body, contributed to the forging of his legend, and a document from the period never before exhibited will be displayed in order to illustrate this story. A Ground-breaking Exhibition The exhibit will form a diptych, honouring frst the clash of arms, the portraits of state and the paintings tracing the bellicose epic of the Grand Condé, followed by a presentation of the little known and lavish private life of the prince, where in his private domain of Chantilly, he received the greatest minds of his time and cultivated his artistic passions. It terminate with the funerary preparations and pomp of the Prince, in full Baroque style, which were the most magnifcent that one had ever known, according to Madame de Sévigné. There will be assembled 120 artistic works and historical documents of the fnest quality, buttressed by prestigious loans coming from the greatest museums, French and foreign alike (the Musée de l’Armée, the Château de Ver- sailles, the Musée du Louvre, the Victoria and Albert Museum, etc.). Exceptional portraits of state, weapons and spoils of war (of which the oldest fag conserved in France, taken in 1643 at the Battle of Rocroi), magisterial paintings of war, original and frst editions of the most famous authors and playwrights of the Grand Siècle, drawings and paintings by the hands of the masters of the period, sculptures, painted silk of more than 6 meters in length and 4 meters in width, engravings and battle plans will permit the public to embrace all aspects of this rich personality. Among the works, some will return to Chantilly for the frst time since the Revolution! In addition to being a history exhibit, this display will aim to be equally an aesthetic array of the most beautiful crea- tions of the French 17th Century: majestic portraits by Juste d’Egmont or by Pierre Mignard, large battle scenes by Adam-Frans Van der Meulen, busts by Antoine Coysevox, drawings by Jean Berain will defne an elegant style and an opulent era. The bold set arrangement, trusted to the agency Jung Architectures, will allow entry into the very battlefelds of the Grand Condé and to experience the lavishness of the interiors and of the park of Chantilly, all while exploring the cultivated life flled with art and literature that the prince lead there. A richly illustrated catalogue edited by Snoeck and coming from the most recent sources on the subject, will unite contributions of specialists and presenting completely unknown aspects of the prince’s personality. 4 DOMAINE DE CHANTILLY / EXPOSITION 5 SEPTEMBRE 2016 - 2 JANVIER 2017 The Rival of the Sun King? This subtitle will invite visitors to refect upon the manner in which the Grand Condé was able to emulate, read rival, his cousin the Sun-King. This rivalry manifested itself in different forms: on the political and military planes of course, with the progressive oppo- sition of the Grand Condé who lead his Fronde against the Cardinal Mazarin and, indirectly, against the Queen-Regent Anne of Austria and her son the king, Louis XIV. This antagonism saw its apogee with the “treason” of the prince who departed to seek refuge in the Spanish Netherlands in 1652: he even put his sword to use in the services of the King of Spain and fought against the French in 1652 and 1659. This was never before seen in the history of France! But, let us not forget, the onetime impertinent rebel was equally the greatest supporter of the king. As of 1643, at Rocroi, it is the Grand Condé who saved the crown of his 4-year-old royal cousin. In the same manner, Condé occupied the role of military leader for Mazarin and the king at the beginning of the Fronde in order to combat and reduce the rebellion. Finally, after 1659 and with the return of the exiled prince to France, he progressively became once again one of the king’s greatest generals, placing his military genius at the service of Louis XIV’s wars. This emulation, or rivalry, translated itself to the visual arts. Condé was considered to be a young hero from the start of his frst victories. His myth was supported by a veritable enterprise of propaganda lead by the House of Bourbon- Condé. It was thus that he became one of the most well represented fgures of the 17th Century: a large number of these impressive portraits will be therefore displayed in the exhibition. This strict control of the construction of one’s image—which echoes very relevant practices!—was notably established in relation to that of the image of the King. In terms of patron of the arts, the opposition between the two fgures was not apparent. At Chantilly, the Grand Condé did not seek to rival Versailles, but established another Versailles, one that was different and tolerant, where free thinking minds were welcome to express themselves (let us think of Molière, placed in a delicate position because of his play Tartuffe). There, Condé assembled the great artists active at the construction sites of his cousin the king: André Le Nôtre and Jules Hardouin-Mansart, as well as Charles Le Brun and Pierre Mignard, were active at Chantilly and put all of their talents at the service of a Prince whose chief concern was expressing the nobility of his rank. Vatel’s suicide, upon the occasion of the festivities that were to reconcile defnitively Condé and Louis XIV, can be considered, in a way, as the tragic result of the emulation between the two men: the stakes were so high— to make of Chantilly the most beautiful host of noble divertissement—and the pressure so strong that the maître d’hôtel of the Grand Condé did not survive it… The answer to the question that the subtitle asks is therefore not so binary and permits, whatever the answer might be, to bring to the forefront and illuminate one of the most fascinating struggles of the Grand Siècle.
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