Ebook Download Madame Du Barry and Her Quite Interesting Origins

Total Page:16

File Type:pdf, Size:1020Kb

Ebook Download Madame Du Barry and Her Quite Interesting Origins MADAME DU BARRY AND HER QUITE INTERESTING ORIGINS PDF, EPUB, EBOOK Sean Caruana Webster | 66 pages | 01 Nov 2020 | Independently Published | 9798674255734 | English | none Madame du Barry and her Quite Interesting Origins PDF Book Joan Haslip's classic biography shares the extraordinary and ultimately tragic story of du Barry's life and, in turn, illustrates the dazzling world of the eighteenth century royal court of France and the horrors of the Revolution. Lyra Lyra is passionate about dancing, reading and drifting through the city's streets. Including wigs. Designed for intensive technical use, such as through equestrian use, these slim fit jeans are designed to last a lifetime of usage while looking damn good doing it. She was known to have a beautiful voice. Fame is where you find it. Jan 26, Sylvia Zedler rated it really liked it. We respect your privacy. This post originally appeared on F Yeah History and is reprinted here with permission. It was a fact that Marie Antoinette had rather close relationships with some of her male admirers. I just started reading the book a few days ago but what got me a bit confused about the facts is the D. What made this even worse was the fact that her son was indoctrinated by the revolutionaries and made to believe that his mother was all wrong. Marie Antoinette by Joseph Ducreux. Well, that would certainly be fitting for a French Queen. James McKinney rated it really liked it Mar 11, There you have it, all about the life of Marie Antoinette! Convents, not the natural home for teenage sass…. Louis XV was hard pressed to find a lady prepared to assume that part. She never returned to Versailles. She wore a white dress. When she was 7, she met Mozart, who was two months younger than her and already a prodigy. Louis XV decided to make young Jeanne his companion. Now this was a HUGE deal. Sep 27, MichelleCH rated it really liked it. Shortly after, on the night of August 1, , she was transferred to an even more dim prison cell in the Conciergerie, leaving her without any form of privacy while preparations for her trial began. He even ended up in a Superman comic book in 18th-century costume. For example, I cringed every time she wrote about Zamor, an enslaved Indian boy in du Barry's service for years, whom Haslip repeatedly calls things like "her little blackamoor. She had a grandiose entrance. However, it seems strange that the National Assembly would sanction death masks when, as Tussaud also stated, they forbade their public display. Find an Article:. She had been forced to undertake this procedure before, with other executed aristocrats including the king himself. Now this openly sexual woman was being thrust in her face constantly. The Affair would be the eventual fall of Marie Antoinette and the possible start of the French Revolution but that story will be reserved for another post since we are focusing of Madame Du Barry. Trending on BUST. She was however exhumed after the Bourbon restoration of together with her husband Louis XVI and given a proper burial and final resting place in the Cathedral of Saint-Denis. It's well-done for what it is; it just astonishes me that it was still being done so recently. Hanging of Mary Dyer. Details if other :. And after her mum married a much poorer guy than her previous beau Jeanne was shipped off to a super dull and drab convent. Nov 13, Liza rated it it was amazing Shelves: biographies. Du Barry and the racy side of French court life that she represented. The author a Well done, but the author has an exasperating attachment to her subject. Learn how your comment data is processed. After all, she was now the Dauphine of France. The oldest surviving sculpture: Madame du Barry, also known as Sleeping Beauty. Madame du Barry and her Quite Interesting Origins Writer Community Reviews. Robert de Cotte architect to Louis XV. While Haslip may feel the need to "protect" Jeanne, she neglects to put Madame du Barry into context, particularly speaking about the intricate ritual and etiquette that ruled Versailles, and which Mme. Jul 28, Lois rated it it was amazing Shelves: biography , all-things-french-history. She also Joan Haslip was an author of historical books, often focusing on European royalty. Eventually, she decided that what she preferred was music, and learned the harp, the flute and the harpsichord. It's just very, very old-fashioned. None of this would matter though once the scandal of the Diamond Necklace Affair broke around the country. Unsurprisingly, the talented design team at Dubarry was able to create their first internationally successful entry into the technical boat shoe market — the Shamrock. Average rating 3. Easy reading and quick too! Error rating book. Unfortunately, as the blade ended her life, Haslip ended the book. Lucie rated it really liked it Jul 21, To ask other readers questions about Madame du Barry , please sign up. I rented out her living room when friends and I went to Paris in As the situation in France began to boil and revolution prepared, the royal family sensed that they were in high danger. She met her husband upon her arrival in France later that year; but the couple famously failed to consummate their marriage for the following seven years. Her lowly origins she was the natural daughter of a maidservant and an unknown man did her no favors with the aristocracy. Discover the history of the Palace of Versailles and its characters in this illustrated video for young and old alike! I have a LOT of questions about her outfit. Marie Antoinette always refused to escape alone without her husband. True Grit. Portrait of Pianist Misia Sert. Certainly the changes in the study and writing of history that were in place by the early '90s are invisible here; she writes about gender, race, slavery, politics, class, for example, in ways that evoke earlier decades--and not in a good way. Discover more on this Foundation. She had been forced to undertake this procedure before, with other executed aristocrats including the king himself. Like the blog post? Southern Marsh. To the surprise of no one, Jeanne and the heiress to the throne, Marie Antoinette, did not particularly see eye to eye. Du Barry—one of the most famous courtesans and royal mistresses of all time! The next step was to find a noblewoman willing to present the bride officially at Court. What a sad end to an ornamental and kind woman. Du Barry and the racy side of French court life that she represented. Within the area of the few blocks surrounding the boutique, the teenager began entertaining men privately to supplement her income and to indulge her in the tastes of high society that she was so obsessed with. The morning of her execution, she was forced to undress in front of her guards. Vineyard Vines. Louis XV died in , and she was first sent to a convent. There you have it, all about the life of Marie Antoinette! Olivia rated it it was amazing May 18, The book is a quick read and is in the end a rather tragic story of a woman who was able to use her natural beauty to eventually achieve incredible wealth. Marie Antoinette was born in in Vienna, Austria. To support our blog and writers we put affiliate links and advertising on our page. Du Barry and Marie-Antoinette basically scoff at each other before du Barry gets tossed. Madame de Pompadour mistress of Louis XV. Hyacinthe Rigaud royal portraitist to Louis XV. Madame du Barry and her Quite Interesting Origins Reviews Enjoyed this book very much. This concludes the ultimate list of facts about Marie Antoinette. Joan Haslip really brings the reader into the world of court life and all of the customs, traditions and etiquette that so ruled each courtier. Jan 01, Kate rated it it was ok Shelves: biography , womens- history , history , french-history. Including wigs. Anyone reading this is familiar with how difficult it is to be beautiful. Things went downhill rather fast. Her name has become significant with careless expenses and contempt for the poor, as well as an extravagant lifestyle in Versailles. He seems to appear as a supporting character in a lot of stories, but never stars. She was executed by the guillotine on October 16 th Her education was normal as well as she learned singing, dancing and performing in front of her parents with her siblings in the palaces. He thrust Jeanne onto the guillotine. Lists with This Book. Tons of Jeannes fellow courtiers had already met with the guillotine, and so she was doing her best to keep a low profile out in the country. More interesting facts about Marie Antoinette Share. To see what your friends thought of this book, please sign up. Bonnie rated it really liked it Dec 26, Accurate representation of Jean-Baptiste du Barry. On Louis XV's death she became vulnerable to those secretly longing for her downfall. In fact, whatever her faults, Madame du Barry was a woman of taste, an active and discerning patroness of the arts. Jeanne's early life is spent as that of the daughter of a rich man's second mistress. Marie Antoinette always refused to escape alone without her husband. Becoming the mistress to political power players and influential courtiers…as well as your basic rich bellends. She was the last Queen of France before the revolutionaries overthrew the monarchy.
Recommended publications
  • The Role of the French Maîtresse En Titre: How Royal Mistresses Utilized Liminal Space to Gain Power and Access by Marine Elia
    The Role of the French Maîtresse en titre: How Royal Mistresses Utilized Liminal Space to Gain Power and Access By Marine Elia Senior Honors Thesis Romance Studies University of North Carolina at Chapel Hill 4/19/2021 Approved: Jessica Tanner, Thesis Advisor Valérie Pruvost, Reader Dorothea Heitsch, Reader 2 Table of Contents Introduction…Page 3 Chapter 1: The Liminal Space of the Maîtresse-en-titre…Page 15 Cahpter 2: Fashioning Power…Page 24 Chapter 3: Mistresses and Celebrity…Page 36 Conclusion…Page 52 Bibliography…Page 54 Acknowledgments…Page 58 3 Introduction Beginning in the mid-fifteenth century, during the reign of Charles VII (1422- 1461), the “royal favorite” (favorite royale) became a quasi-official position within the French royal court (Wellman 37). The royal favorite was an open secret of French courtly life, an approved, and sometimes encouraged, scandal that helped to define the period of a king's reign. Boldly defying Catholic tenants of marriage, the position was a highly public transgression of religious mores. Shaped during the Renaissance by powerful figures such as Diane de Poitiers and Agnès Sorel, the role of the royal mistress evolved through the centuries as each woman contributed their own traditions, further developing the expectations of the title. Some used their influence to become powerful political actors, often surpassing that of the king’s ministers, while other women used their title to patronize the arts. Using the liminal space of their métier, royal mistresses created opportunities for themselves using the limited spaces available to women in Ancien Régime France. Historians and writers have been captivated by the role of the royal mistress for centuries, studying their lives and publishing both academic and non-academic biographies of individual mistresses.
    [Show full text]
  • Le Sourire De Marie-Antoinette: La Mort En Surimpression Dans Mémoires D'outre-Tombe
    Le Sourire de Marie-Antoinette: La mort en surimpression dans Mémoires d'outre-tombe Dominique Jullien Nineteenth-Century French Studies, Volume 46, Numbers 3 & 4, Spring-Summer 2018, pp. 324-341 (Article) Published by University of Nebraska Press DOI: https://doi.org/10.1353/ncf.2018.0002 For additional information about this article https://muse.jhu.edu/article/692201 Access provided by University of California , Santa Barbara (8 May 2018 02:04 GMT) Le Sourire de Marie- Antoinette La mort en surimpression dans Mémoires d’outre- tombe Dominique Jullien In book fi ve of the Mémoires d’outre- tombe Chateaubriand recalls Marie- Antoinette, superimposing the memory of her smile with that of her skull exhumed in 1815. Starting with this hallucinatory overlay (smiling woman / grimacing skull) this article discusses the kinship between Chateaubriand’s writing of memory and the various optical techniques popular at the time, including daguerreotypes, dioramas, waxworks, fantasmagorias, ghost photography, stereoscopy, double exposures, etc. Focusing mainly on the memoir’s female portraits, I show that, while they are obviously indebted to the venerable tradition of the vanitas, they also owe something to modern illusionistic spectacles, and I explore the affi nity between the techniques of image mobility and memory phenomena, which were naturally troped in terms of the new optical inventions. (In French) Dans un épisode célèbre du livre cinq des Mémoires d’outre- tombe, Chateaubriand évoque sa rencontre avec Marie- Antoinette et le souvenir de son sourire, avec, en surimpression macabre, l’image de son crâne reconnu lors des exhumations de 1815: Elle me fi t, en me jetant un regard avec un sourire, ce salut gracieux qu’elle m’avait déjà fait le jour de ma présentation.
    [Show full text]
  • Kings and Courtesans: a Study of the Pictorial Representation of French Royal Mistresses
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2008 Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses Shandy April Lemperle The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lemperle, Shandy April, "Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses" (2008). Graduate Student Theses, Dissertations, & Professional Papers. 1258. https://scholarworks.umt.edu/etd/1258 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. KINGS AND COURTESANS: A STUDY OF THE PICTORIAL REPRESENTATION OF FRENCH ROYAL MISTRESSES By Shandy April Lemperlé B.A. The American University of Paris, Paris, France, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Fine Arts, Art History Option The University of Montana Missoula, MT Spring 2008 Approved by: Dr. David A. Strobel, Dean Graduate School H. Rafael Chacón, Ph.D., Committee Chair Department of Art Valerie Hedquist, Ph.D., Committee Member Department of Art Ione Crummy, Ph.D., Committee Member Department of Modern and Classical Languages and Literatures Lemperlé, Shandy, M.A., Spring 2008 Art History Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses Chairperson: H.
    [Show full text]
  • MINUTES of the 69 MEETING of AYNHO HISTORY SOCIETY HELD at the VILLAGE HALL, AYNHO on WEDNESDAY 25 JUNE 2014 Present
    MINUTES OF THE 69th MEETING OF AYNHO HISTORY SOCIETY HELD AT THE VILLAGE HALL, AYNHO ON WEDNESDAY 25th JUNE 2014 Present: - Peter Cole - Secretary. There were apologies from Rupert Clark due to work commitments 1. Chairman and Treasurer's Report In Rupert’s absence Peter reported that Middleton Cheney is holding a photographic exhibition on Saturday 19th July from 2pm to 4.30pm in All Saints Church, entitled “The Village – Then and Now”. There will be about 50 photos of Middleton Cheney taken between 1900 and 1930, accompanied by photos of the same view taken today. 2. Royal Mistresses Roger Powell The talk covers the period from 1509 to the present day, and concentrates on people who were royal mistresses for at least ten years. Indeed one was a mistress for 36 years. In many cases from a psychological point of view she was not just an object of desire but she more or less became a second wife, and sometimes even a mother to the king. The origin of the role in the early days of the Middle Ages derives from the many loveless royal marriages, as for kings the main reason for a marriage was to secure or maintain an alliance to build his empire or strengthen his position against enemies. Once a queen had given the king one or two heirs, he would forget or even abandon her and take a mistress. In England a royal mistress did not become a feature of court society until the 17th century. In France they had been around in the mid-1600s, but it took a while before England followed suit.
    [Show full text]
  • Cavell and the Politics of Cinema: on Marie Antoinette Richard Rushton1
    Film-Philosophy 18 (2014): Special Section on Stanley Cavell Cavell and the Politics of Cinema: On Marie Antoinette Richard Rushton1 In his writings, does Stanley Cavell propose something which might be called a ‘politics of cinema’? If the answer to such a question is ‘yes’, then I take it that a politics of cinema from Cavell’s perspective is one which downplays the question of cinematic techniques. For Cavell, a film’s ‘reflexivity’ or its foregrounding of the apparatus are not the grounds for defining a politics of cinema. Rather, Cavell asks questions like: How does a film articulate the stakes of a social or communal world? or: How does a film come to define the ways in which a group of people can live together? A political analysis of a film for Cavell would examine any film’s ways of articulating and defining a political society or framework. That is, a politics of cinema from Cavell’s perspective is one in which the stakes are to define a society or community. What is a ‘community’ or ‘society’? In a straightforward sense, a society is any group of people that is organised in such a way that its organisation persists over time, or that it might persist over time. A community or society therefore must be relatively stable, otherwise it could not be called a community or society. And yet, at the same time, any community will also be the product of its own continually changing processes of making and remaking itself. A political community therefore will only ever be relatively stable, so that change, disruption and transformation will be integral to any social formation.
    [Show full text]
  • Marie Antoinette
    Louis XVII - CHILD PRISONER 0. Louis XVII - CHILD PRISONER - Story Preface 1. A ROYAL CHILDHOOD 2. THE YOUNG ANTOINETTE 3. WEDDING at the PALACE of VERSAILLES 4. DEATH of LOUIS XV 5. A GROWING RESENTMENT 6. CHILDREN of MARIE ANTOINETTE 7. THE DIAMOND NECKLACE AFFAIR 8. THE FRENCH REVOLUTION 9. EXECUTION of LOUIS XVI 10. THE GUILLOTINE 11. TRIAL of MARIE ANTOINETTE 12. MARIE ANTOINETTE and the GUILLOTINE 13. Louis XVII - CHILD PRISONER 14. DNA EVIDENCE and LOUIS XVII Jean-Louis Prieur (1759-1795) created this illustration of Louis-Charles, the French Dauphin, depicting his treatment in prison. The title of this 1794 work is: Simon le cordonnier et Louis XVII au Temple (“Simon the Shoemaker and Louis XVII at the Temple”). Once his father was executed, royalists referred to the Dauphin as King Louis XVII. The illustration is maintained at the BnF and is online via Gallica (the BnF’s digitized gallery). Louis-Charles, the orphaned son of a king and—to royalists—a king (Louis XVII) himself, would have been better off had his captors simply killed him. Instead, he endured unimaginable conditions in Temple prison, existing in a room above his sister. When first imprisoned, he was a bright, good-looking child: ...his blue eyes, aquiline nose, elevated nostrils, well-defined mouth, pouting lips, chestnut hair parted in the middle and falling in thick curls on his shoulders, resembled his mother before her years of tears and torture. All the beauty of his race, by both descents, seemed to reappear in him. (Campan, Memoirs of Marie Antoinette, Supplement to Chapter IX - scroll down 60%.) An acquaintance of Robespierre, Antoine Simon (often called "Simon the shoemaker"), was charged with caring for the young prince.
    [Show full text]
  • The Historicity of Papyrus Westcar*
    The Historicity of Papyrus Westcar Hays, H.M. Citation Hays, H. M. (2002). The Historicity of Papyrus Westcar. Zeitschrift Für Ägyptische Sprache Und Altertumskunde, 129, 20-30. Retrieved from https://hdl.handle.net/1887/16163 Version: Not Applicable (or Unknown) License: Leiden University Non-exclusive license Downloaded from: https://hdl.handle.net/1887/16163 Note: To cite this publication please use the final published version (if applicable). 20 H. M. Hays: Historicity of p\X"e~tcar zAs 129 (2002) HAROLD M. HAYS The Historicity ofPapyrus Westcar* An approach first explicitly evident 1n treated as exhibiting an "historisch vollig richti­ Meyer's monumental 1909 Geschichte des Al­ gen Kern," as representing a 'Widerspiegelung tertums" Papyms Westcar has been persistently' der realen Vorgiinge"; from Dynasty 4 to 5. This has been done even in the face of the tale's fabulous elements - when these are mentioned, * A version ofthis article was presented on 28 April it is only in order to dismiss them from the 2000 at the University of California, Berkeley, at the equation· of a historical inquiry'. As this ap­ 51st Annual Meeting of the American Research Center proach endures~ despite protestations made in in Egypt. It has benefited from comments nude by John Brinkmann, Peter F. Donnan, Janet JOh0500, and passing by Goedicke recently in this journal", David O'Connor, though responsibility for the work there are grounds for a concentrated inquiry into remains mine. the text's worth as a historical trace. For my own 2 1 E. Merer, Geschichte
    [Show full text]
  • Pour La Journée Internationale Des Droits Des Femmes, Le Centre Des
    Communiqué de presse, le 21 février 2019 Pour la journée internationale des droits des femmes, le Centre des monuments nationaux et la mairie du 8e arrondissement de Paris proposent « le Moi des femmes » à la Chapelle expiatoire des événements culturels sur tout le mois de mars Chapelle expiatoire, façade orientale vue depuis le portique d’entrée © Benjamin Gavaudo – Centre des monuments nationaux Contacts presse : Chapelle expiatoire : Thomas Pucci 01 42 65 35 80 [email protected] Pôle presse du CMN : Julia Rage 01 44 61 21 42 [email protected] Pour retrouver l’ensemble des communiqués du CMN : presse.monuments-nationaux.fr Communiqué de presse À l’occasion de la journée internationale des droits des femmes, le Centre des monuments nationaux et la mairie du 8e arrondissement de Paris s’associent pour présenter « le Moi des femmes » à la Chapelle expiatoire. Des événements culturels mettant à l’honneur des personnalités féminines seront organisés tout le long du mois de mars. « La Femme naît libre et demeure égale à l'homme en droits. » Article Ier de la Déclaration des droits de la Femme et de la Citoyenne, Olympe de Gouges (1748-1793). Inhumée au cimetière de la Madeleine sur lequel s’élève la Chapelle expiatoire. Mercredi 6 mars à 18h30 : Rencontre avec Josiane Balasko En partenariat avec la librairie des Abbesses, une rencontre avec Josiane Balasko pour son recueil de nouvelles « Jamaiplu » aux éditions Pygmalion est organisée, suivie d’une séance de dédicaces. Vendredi 8 et samedi 9 mars à 15h : Visite commentée « La Chapelle expiatoire et les femmes » Olympe de Gouges, Charlotte Corday et Manon Roland sont trois femmes qui, chacune à leur manière, ont contribué, par leur exemple et leur engagement, à faire avancer les droits des femmes dans l’Histoire.
    [Show full text]
  • The Sounds of Paris in Verdiâ•Žs La Traviata
    University of New Orleans ScholarWorks@UNO Foreign Languages Faculty Publications Department of English and Foreign Languages 4-2014 The Sounds of Paris in Verdi’s La Traviata (book review) Juliana Starr University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/fl_facpubs Part of the French and Francophone Language and Literature Commons, and the Music Commons Recommended Citation Starr, Juliana. "The Sounds of Paris in Verdi’s La Traviata." (book review) H-France Review 14 (April 2014): 1-4. http://www.h-france.net/vol14reviews/vol14no65starr.pdf This Book Review is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in Foreign Languages Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. H-France Review Volume 14 (2014) Page 1 H-France Review Vol. 14 (April 2014), No. 65 Emilio Sala, The Sounds of Paris in Verdi’s La traviata. Cambridge and New York: Cambridge University Press, 2013. xv + 206 pp. Figures, notes, bibliography, and index. $95.00 U.S. (hb). ISBN 978-1-107- 00901-1; $60.80 U.S. (eb). Kindle digital file. Review by Juliana Starr, University of New Orleans. How did Paris and its musical “soundscape” (p. 11) influence Verdi’s La traviata? In this volume, Emilio Sala breaks fresh ground in the fields of ethnomusicology, music history, and sound studies by re- examining the famous opera in the cultural context of the French capital in the mid-nineteenth century.
    [Show full text]
  • Abstract Stuart Suits and Smocks
    ABSTRACT STUART SUITS AND SMOCKS: DRESS, IDENTITY, AND THE POLITICS OF DISPLAY IN THE LATE SEVENTEENTH-CENTURY ENGLISH COURT by Emilie M. Brinkman This thesis centers on the language of dress and the politics of display during the late Stuart dynasty (1660–88). In the late Stuart courts, fashion and material possessions became an extension of one’s identity. As such, this study examines how elite Englishmen and women viewed themselves, and others, through their clothing on the eve of Britain’s birth in response to critical moments of identity crisis during the Restoration period. Whitehall courtiers and London gentility utilized their physical appearance, specifically their clothing, accoutrements, and furnishings, to send messages in order to define themselves, particularly their “Englishness,” in response to numerous unresolved issues of identity. Therefore, this thesis argues that the roots of English national character were evident in the courts of Charles II and James II as a portion of the English population bolstered together in defiance of the French culture that pervaded late seventeenth-century England. STUART SUITS AND SMOCKS: DRESS, IDENTITY, AND THE POLITICS OF DISPLAY IN THE LATE SEVENTEENTH-CENTURY ENGLISH COURT A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of History by Emilie M. Brinkman Miami University Oxford, Ohio 2013 Advisor ______________________ P. Renée Baernstein, PhD Reader ______________________ Andrew Cayton, PhD Reader ______________________ Katharine Gillespie, PhD TABLE OF CONTENTS I. Introduction 1 II. The Character of Clothes 12 III. Diplomatic Dress 23 IV. Gendered Garb 36 V.
    [Show full text]
  • Picturing Marie Lezczinska (1703- 1768): Representing Queenship in Eighteenth-Century France
    2017 IV Picturing Marie Lezczinska (1703- 1768): Representing Queenship in Eighteenth-Century France Jennifer Germann Farnham: Ashgate, 2015 Review by: Heidi A. Strobel Review: Printing Marie Leszczinska (1703-1768): Representing Queenship in Eighteenth Century France Picturing Marie Leszczinska (1703-1768): Representing Queenship in Eighteenth- Century France. By Jennifer Germann. Farnham: Ashgate, 2015. ISBN 978-1- 4094-5582-0. xiii + 239 pp. £65.00. n Picturing Marie Leszczinska (1703-1768): Representing Queenship in Eighteenth-Century France, Jennifer Germann considers the visual legacy of the wife of Louis XV (r. 1715-1774) through the lenses of social I art history, patronage, and gender studies. During her time as the longest reigning queen of France (1725-1768), Leszczinska gave birth to ten children. She never enjoyed a great deal of power at the French court, however, for she arrived there as the daughter of the exiled Polish king and was eventually eclipsed by the royal mistresses, particularly Madame de Pompadour and Madame du Barry. Germann’s account is a template for the historical consideration of a weak consort. During Leszczinska’s tenure, the power of French queenship continued to erode, a process that began with her predecessor, Marie-Thérèse (wife of Louis XIV), and came to a fateful end with her successor, Marie-Antoinette. Germann’s analysis of gender, power, and representation provides a necessary description of the change in French queenship from the strong Médici consorts of the early modern period to the weak ones of the eighteenth century. Germann focuses primarily on four portraits made at three distinct historical moments in Marie Leszczinska’s life, arguing that although she did not wield political power, her portraits reveal a degree of historical agency.
    [Show full text]
  • Breaking with Convention: Mme De Pompadour's Refashioning of The
    Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries Mandy Paige-Lovingood A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2017 Approved by: Melissa L. Hyde Cary Levine John Bowles ©2017 Mandy Paige-Lovingood ALL RIGHTS RESERVED ii ABSTRACT MANDY PAIGE-LOVINGOOD: Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries (Under the direction of Dr. Melissa Hyde) In 1750 the sexual relationship between Mme Pompadour and Louis XV ended, resulting in the maîtresse-en-titre’s move out of Versailles and into the Château de Bellevue. Designed by Pompadour and with the financial support of the king, the château offered her a place away from court etiquette and criticism, a private home for her and Louis XV to relax. Within Bellevue, her bedroom (la chambre a la turq) was decorated with Turkish furnishings, textiles and Carle Van Loo’s three-portrait harem series. Specifically, my thesis will explore Pompadour’s chambre a la turque and Van Loo’s A Sultana Taking Coffee, the only self-portrait of Mme de Pompadour in the series, to exhibit her adoption and depiction of the French fashion trend of turquerie. Here, I suggest Pompadour’s adoption of harem masquerade was a political campaign aimed at reclaiming and magnifying her social and political dislocation from Louis XV’s court, as well as an alternative appraoch to the French definition of ‘woman,’ whereby she represented herself as an elite and desired ‘other’: the Ottoman woman.
    [Show full text]