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Catherine De' Medici and the Art of Self-Definition in Sixteenth

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Catherine De' Medici and the Art of Self-Definition in Sixteenth © COPYRIGHT by Taylor Curry 2020 ALL RIGHTS RESERVED CATHERINE DE’ MEDICI AND THE ART OF SELF-DEFINITION IN SIXTEENTH- CENTURY FRANCE BY Taylor Curry ABSTRACT Catherine de’ Medici (1519-1589) was defined in part by the powerful men in her life: her uncle Pope Clement VII (1523-1534), her husband Henri II (1519-1559), King of France, and later her sons Francis II (1544-1560), Charles IX (1550-1574), and Henri III (1551-1589). Despite attempts by others to elide her individual identity and hold her power in check, Catherine created politically effective representations of herself, her position, and her authority through commissioning and displaying art. The artistic sphere was not inherently political, which allowed Catherine to redefine her identity outside of male influence and to take ownership of the multiple, intersecting roles she occupied as a wife, widow, and mother. By creating an identity that included this assemblage of roles, Catherine created her own independent narrative that asserted her political authority and individual identity. Catherine was not the first early modern woman to creatively define herself outside of societal expectations. While breaking from tradition in certain ways, in others she utilized approaches similar to those that Margaret of Austria (1480-1530), Regent of the Netherlands, had used in Mechelen a generation earlier and encouraged her female descendants, specifically her granddaughter Christine de Lorraine (1565-1637), and the next generation to do the same, including the future queen of France Marie de’ Medici (1575-1642). These three generations of women collectively show the power of self-created female identity and also reveal that Catherine, while unique in many ways, was not the only elite woman of the sixteenth century to sidestep societal constructs to define herself and her role through art. In so doing, she advanced her socio-political position to personal and familial benefit. ii ACKNOWLEDGMENTS Covid-19 and stay-at-home orders made the completion of this thesis unusual to say the least. However, I would like to thank my family, friends, and professors at AU who supported and assisted me despite the trying times. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF ILLUSTRATIONS .......................................................................................................... v INTRODUCTION CATHERINE DE’ MEDICI’S IDENTITIES .......................................... 1 CHAPTER 1 NEGOTIATING IDENTITIES AND MEDIATING STATUS ........................ 9 CHAPTER 2 CATHERINE’S MENTORS AND MENTEES .............................................. 30 CONCLUSION THE LEGACY OF SELF-IDENTITY ....................................................... 42 ILLUSTRATIONS ....................................................................................................................... 44 BIBLIOGRAPHY ......................................................................................................................... 45 iv LIST OF ILLUSTRATIONS Note: Due to copyright restrictions, the illustrations are not reproduced in the online version of this thesis. They are available in the hard copy version that is on file in the Visual Resources Center, Art Department, Katzen Art Center, American University, Washington, D.C. Figure 1: Jacopo Chiamenti da Empoli, Marriage of Catherine de’ Medici with Henri II of France, Duc d’Orleans, 16th century. Florence: Uffizi Galleries. .................................... 44 Figure 2: Germain Pilon, Funerary Monument of Henri II and Catherine de’ Medici, 1563-1572. Paris: Abbey Church, St. Denis. ....................................................................................... 44 Figure 3: copy after Francois Clouet, Portrait of Catherine de’ Medici, c. 1580. Paris: Fontainebleau. ................................................................................................................... 44 Figure 4: from plan by Alexander Francini, Jardin de la Reine, Chateau of Fontainebleu, 1614. Bibliotheque Nationale. .................................................................................................... 44 Figure 5: Antoine Caron, Les Placets/ The Petitions, c. 1560s. Paris, Bibliotheque Nationale. .. 44 Figure 6: after Bernard van Orley, Portrait of Margaret of Austria, Duchess of Savoy, 1519- 1520, Antwerp, Royal Museum of Fine Arts Antwerp. .................................................... 44 Figure 7: Jan van Roome, Tomb of Margaret of Austria, 1516-32, Monastère Royal de Brou, Bourg-en-Bresse. .............................................................................................................. 44 v INTRODUCTION CATHERINE DE’ MEDICI’S IDENTITIES Elite women of sixteenth-century France took advantage of their positions to become influential art patrons and collectors. Catherine de’ Medici (1519-1589) was one such woman. As her sociopolitical status shifted from wife, to mother, to widow, Catherine differently strategized how her artistic commissions and the display of her art collection advanced her objectives. By examining Catherine’s ever evolving collection, we can better understand how she defined herself as an individual and how royal women in general utilized art to their advantage. The claims made by Catherine’s imagery and activities as a collector were multifaceted, reflecting the various roles that she occupied. As a bride, she endeavored to present herself as the ideal wife to offset her status as a non-royal Florentine and her “failure” at first to fulfill the role society expected of her: to give birth to male heirs. When her husband Henri II died, she continued to advance an idealized pictorial persona, but the imagery shifted to reflect her role as widow and queen mother. Finally, after the death of her son Francis II, her imagery transitioned for a third time, to that of an ideal mother whose focus was the success of the French monarchy. To show this array of identities, Catherine commissioned and purchased art that represented her wedding, her mourning clothes, her role as wife and woman in her husband’s tomb, and her personification as the ancient queen Artemisia. Additionally, her architectural projects as well as her library reinforced Catherine’s French identity as well as her loyalty to the French over the Florentines. Catherine was hardly the first woman in early modern northern Europe to commission imagery and build art collections that advanced a sociopolitical agenda. Catherine’s predecessor 1 Margaret of Austria, Duchess of Savoy and Regent of the Netherlands (1480-1530) was extremely successful in using art to assert pictorial identities that were advantageous to her objectives. Although Margaret’s political and familial situations were different from Catherine’s, both women used art in similarly powerful ways to establish their legitimacy. Additionally, Catherine made special effort to mentor women of younger generations, like Christine de Lorraine, Catherine’s granddaughter and the Grand Duchess of Tuscany (1565-1637) and Marie de’ Medici, Queen of France and a very distant relation of Catherine’s (1575-1642), so that they too came to understand how imagery could assert identity and claim power. By examining these three generations of women, we can better understand how and why women used art to self- fashion for their peers in a way otherwise difficult to achieve. Catherine’s Beginning Catherine de’ Medici’s childhood was in many ways unstable, a situation that may have contributed to an early awareness of the advantages of art patronage and collection for women in precarious social positions without familial support or a guaranteed position in society. Catherine was born in 1519 in Florence to Lorenzo de’ Medici and Madeleine de la Tour d’Auverne.1 Her parents were expected to secure a new dynastic lineage for the Medici family in Italy since her father was the heir to the Medici line and her mother was French royalty.2 Their marriage formed a powerful alliance for the Medici family by aligning them with royalty. Unfortunately, both Lorenzo and Madeleine died within a month of Catherine’s birth, thus orphaning her and sending the family into upheaval.3 There was no possibility of her returning to her mother’s family and 1 Michael G. Paulson, Catherine de’ Medici: Five Portraits (NYC: Peter Lang Publishing Inc., 2002), 3. 2 “Geoffroy Tory and Catherine de Medici Queen of France,” ed. by Gustave Cohen translated by Samuel A. Ives. (New York: H. P. Kraus, 1944), 15. 3 Kerrie-Rue Michahelles, “Catherine de’ Medici’s 1589 Inventory at the Hotel de la Reine in Paris,” Furniture History 38 (2002): 1. 2 her father had no other children or close siblings who were available to raise Catherine. Therefore, throughout her early life, she was passed from family member to family member and at times was used as a political pawn for the family as they attempted to reestablish dominance in Italy.4 While for most of this time one of two Medici popes, Leo X (1513-1521) and Clement VII (1523-1534), were her official guardians as direct male relatives, the raising of Catherine fell to female relations.5 At times her circumstances were fraught. She was held as a political hostage, threats of rape were sent to her in an effort to dissuade
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