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A Legacy of Women: an Autobiographical Approach to Peter Paul Rubens’ Life Cycle of Marie De’ Medici

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A Legacy of Women: an Autobiographical Approach to Peter Paul Rubens’ Life Cycle of Marie De’ Medici A LEGACY OF WOMEN: AN AUTOBIOGRAPHICAL APPROACH TO PETER PAUL RUBENS’ LIFE CYCLE OF MARIE DE’ MEDICI A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Kirsten Girio Winner May, 2019 Thesis written by Kirsten Girio Winner B.A. Art History, Susquehanna University, December 2016 M. A. Art History, Kent State University, May 2019 Approved by ______________________________________ Gustav Medicus, Ph.D., Advisor ______________________________________ Marie Bukowski, M.F.A., Director, School of Art ______________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES……………………………………………………………………….….…...v ACKNOWLEDGMENTS……………………………………………………………………….vii CHAPTER I. INTRODUCTION……………………………………………………………………………...1 II. THE EARLY LIFE OF PETER PAUL RUBENS……………………………………………..6 III. THE LIFE CYCLE OF MARIE DE’ MEDICI……………………………………….………11 IV. RUBENS’ FEMINISTIC VISION: AN AUTOBIOGRAPHICAL APPROACH TO READING THE LIFE CYCLE OF MARIE DE’ MEDICI……………………………………....16 The First Portion of the Cycle……………………………………………………………16 The Queen’s Parents……………………………………………………………………..16 The Fates Spin the Destiny of the Future Queen………………………………………...19 The Birth of the Princess…………………………………………………………………21 The Education of the Princess……………………………………………………………22 The Presentation of the Portrait ………………………………………………...……….23 The Wedding by Proxy of Marie de’ Medici to King Henri IV…………………………24 The Disembarkation at Marseilles……………………………………………………….26 The Meeting of Marie de’ Medici and Henri IV at Lyons……………………………….27 V. RUBENS’ FEMINISTIC VISION…………………………………………………………...29 The Second Portion of the Cycle…………………………………………………...........29 The Birth of Louis XIII…………………………………………………………………..29 The Consignment of the Regency………………………………………………………..31 The Coronation in Saint-Denis…………………………………………………………..33 The Death of Henri IV and the Proclamation of the Regency……………………….…..34 The Council of the Gods………………………………………………………………....35 The Triumph at Juliers…………………………………………………………………...36 The Exchange of Princesses at the Spanish Border……………………………………...37 iii The Felicity of the Regency of Marie de’ Medici……………………………………..…38 VI. RUBENS’ FEMINISTIC VISION…………………………………………………………..40 The Third Portion of the Cycle…………………………………………………..............40 Louis XIII Comes of Age………………………………………………………………..41 The Flight from Blois…………………………………………………………………….42 The Negotiations at Angoulême………………………………………………………....43 The Queen Opts for Security…………………………………………………………….44 The Reconciliation of the Queen and Her Son…………………………………………..45 Time Unveils the Truth…………………………………………………………………..47 The Queen Triumphant…………………………………………………………………..48 VII. CONCLUSION…………………………………………………………………………..…49 FIGURES……………………………………………………………………………………...…52 BIBLIOGRAPHY…………………………………………………………………………...…...84 iv LIST OF FIGURES Figure Page 1. Arrival of the English Ambassadors to the King of Brittany, Cycle of St. Ursula …..…..52 2. Victory Stele of Naram-Sin, King of Akkad………………………………...……………53 3. Law Code of Hammurabi, King of Babylon…………...………………………………...54 4. Ceiling of the Banqueting House……………………………………...…………………55 5. Rape of Hippodamia (The Lapiths and the Centaurs)…………………………………...56 6. Henrietta Maria of France, Queen Consort of England …………...……………………57 7. Portrait of Francesco I de’ Medici, Grand Duke of Tuscany…………..………………..58 8. Portrait of Johanna of Austria, Grand Duchess of Tuscany…………………………….59 9. Portrait of Gaston of France, Duke of Orleans……………………………………….....60 10. The Fates Spinning the Destiny of Marie de’ Medici……………………………………61 11. The Birth of the Princess…………………………………………………………………62 12. The Education of the Princess…………………………………………………………...63 13. The Presentation of the Portrait of Marie de’ Medici to Henri IV………………………64 14. The Wedding by Proxy of Marie de’ Medici to King Henri IV…………………………..65 15. The Disembarkation at Marseilles……………………………………………………….66 16. The Meeting of Marie de’ Medici and Henri IV at Lyons………………………………..67 17. The Birth of the Dauphin at Fontainebleau……………………………………………...68 18. The Consignment of the Regency………………………………………………………...69 19. The Coronation in Saint-Denis…………………………………………………………..70 20. Portrait of Isabella Brandt……………………………………………………………….71 21. The Death of Henri IV and the Proclamation of the Regency…………………………...72 22. The Council of the Gods…………………………………………………………………73 23. The Triumph at Juliers…………………………………………………………………...74 24. The Exchange of Princesses at the Spanish Border……………………………………...75 25. The Felicity of the Regency of Marie de’ Medici………………………………………...76 26. Louis XIII Comes of Age…………………………………………………………………77 27. The Escape from Blois…………………………………………………………………...78 28. The Negotiations at Angoulême………………………………………………………….79 29. The Queen Opts for Security……………………………………………………………..80 30. The Reconciliation of the Queen and Her Son…………………………………………...81 v 31. The Triumph of Truth…………………………………………………………………….82 32. The Queen Triumphant…………………………………………………………………..83 vi ACKNOWLEDGMENTS I would like to thank Dr. Gustav Medicus for being my thesis advisor and reading through this paper no less than four times. I would also like to express my thanks to Professor Albert Reischuck for being my second reader. A thank you to my thesis committee, Dr. Shana Klein, Dr. Joseph Underwood, and Dr. John-Michael Warner, for sitting on my panel and taking the time to read my thesis. Last but not least, I would like to thank my parents – without you, I would not be where I am today. Thank you for always believing in me. vii 1 CHAPTER 1 INTRODUCTION Peter Paul Rubens’ grand cycle on the Life of Marie de’ Medici depicts the major events in the life of Marie de’ Medici, while surreptitiously editing and disguising the unsavory portions of her life. It is indeed interesting to see the life of a woman patron portrayed; it would have been a far different representation had Marie de’ Medici been a man, as she would have been shown in more heroic, military triumphs throughout the series. There are certainly a few instances in which the life of a woman is represented in a cycle, such as Vittore Carpaccio’s Legend of St. Ursula (Fig. 1), however, this is the life of a saint and has no overarching allegorical theme, only depicting the main events in the life of St. Ursula. Unlike Carpaccio’s Legend of St. Ursula, Rubens’ cycle is notable for depicting a secular figure, and for being commissioned by the patron herself. Originally, Rubens was commissioned to paint two cycles for the Luxembourg Palace, one for Marie de’ Medici and the other for the late King Henri IV. Upon further inspection, it at first seems curious that the cycle for Marie’s husband was never painted, however, this was likely due to Rubens disfavor with the French for supporting Marie following her final banishment. The follow-up question asks why Marie’s life took precedence over Henri IV’s. Since Henri IV was deceased by this time, having being assassinated in 1610, would not Marie want to honor her late husband with the intended cycle? What was the purpose in having Rubens create these twenty-four paintings for Marie de’ Medici? Marie was trying to improve her public image and legitimize her regency, but it could be argued that the same could have been accomplished with a cycle dedicated to Henri IV or even her son, Louis XIII, and perhaps that 2 would have been a more effective way for her to gain public approval as well as the support of her son.1 Rubens’ Life Cycle of Marie de’Medici adeptly and cleverly mixes allegorical and historical themes to present Marie’s major life events in a publically endearing way. Ultimately, this cycle is a form of propaganda to change the public’s view on Marie following the scandal of Henri IV’s death, which will be explained later, and her subsequent banishment and reinstatement by her son Louis XIII a few years after he came of age.2 However, I have some questions on this. Was it completely necessary to portray mythological subjects to accomplish this feat? Is using mythological subjects only embellishing the truth or a blatant lie to show Marie as a blameless party? Could not the same have been done by just portraying Marie or specifically linking her life to that of the Virgin Mary? Some do see a religious overture in these images – which would not have seemed unusual given Marie’s religious views, as she was Catholic, as was Rubens, whose family converted to Catholicism when they returned to Cologne.3 While Rubens is known for producing mythological interpretations as well as a prodigious number of religious pieces, he does not seem to have mingled the two worlds in any of his other cycles, such as the ones commissioned by Charles I or Philip IV, so it seems unlikely that there would be overt references to religious iconography. The purpose of this paper is to provide reasonable evidence that Rubens’ inspiration for this cycle is his mother, as certain ideas appear to be skillfully embedded within the Life of Marie de’ Medici. Even the names of the women are similar – Marie, the Queen Mother of France, and Maria, Rubens’ mother. The association of names is certainly coincidental, however, it may have 1 Sara Galletti, “Rubens’s Life of Maria de’ Medici: Dissimulation and the Politics of Art in Early Seventeenth- Century France,” Renaissance Quarterly 67, No. 3 (Fall 2014), 892. 2 The public scandal surrounding Henri IV’s death will be discussed in more detail in later chapters. 3 Kristin Lohse Belkin, Rubens (London: Phaidon Press Limited,
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