Baroque Style: King Louis XIV Of France

Versailles was designed by craftsmen, architects and artists from all over Europe and took 30 years to complete. The palace was often called the “gilded cage”, Louis XIV would host parties and have nobility compete for his favor. Court life revolved

It is often debated whether or not the reign of King Louis XIV had a positive or negative effect on France. Although there were improvements during his reign in transportation, culture, and national defense, there were far more negative aspects. He depleted the national treasury with his liberal spending on personal luxuries and massive monuments. His extreme fear of the loss of power led to poor decision making, which caused the court to be of lower quality. King Louis XIV’s disastrous rule brought about a series of effects that influenced the French Revolution in the following century.

Castles, palaces, and cathedrals are scattered across Europe. Each one possesses unique characteristics and architecture bearing resemblance of their time. Some castles incorporate Greek influence, roman or gothic influence in design. Other castles and palaces are surrounded by sculptures outside in the courtyard or include sculptures worshiped as an altarpiece. While any one of these things would serve to make an ordinary castle more elaborate there is one palace that possesses all of these: The Palace of Versailles in France. The Palace of Versailles has managed to incorporate classic architecture, exquisite sculptures, and amalgamated the old design with the newer design trends of the day.

Louis XIV followed many Machiavellian teachings but conspicuously disregarded others, due to some of his fiscal policies (or lack of them) and personal tendencies. Louis XIV is the longest reigning monarch in European history, and during his impressive reign, France enjoyed a Golden Age of arts and commerce. He expanded its territories and shifted the balance of power to France becoming one of the most powerful European countries in the 17th century.

History remembers Louis XIV as a great patron of the arts, for his work as ballet dancer and for his relationship with artists like Moliere. History also remembers him for his political savvy, his ability to consolidate his power and pioneer political absolutism; however, often, history fails to recognize the essential linkage between these two seemingly distinct worlds that Louis inhabited, the artistic and the political. In fact, Louis’ experiences growing up taught him both the inherent adoration and worship given to the French king and the consequences if he did not fully exploit that power but rather allowed it to become diluted. As he came of age and fully took on the role of the king, Louis harnessed the divinity and clout of his position to consolidate his power by expertly playing the role of the king--as if he were an actor upon a stage--and then by using spectacle and theatricality to not only reinforce that role but also to diminish the power of his nobles.

England and France, during the 1600s, were both absolutist countries. Their leaders, Charles I and Louis XIV, respectively, bot ruled their countries during that time. Though they differed in their views on religion and the powers that nobles ought to wield, they both encouraged the arts and education. During the 17th century, England was a Protestant nation, and wanted nothing to do with the Catholic religion.

Although Louis XIV, also known as Louis the Great, brought death and destruction through his wars, there are many positive aspects of his reign, such as the creation of Versailles and the building of France’s national army. He did what had never been done before. He changed the lifestyle and the attitude of France by creating one of the most powerful monarchies ever to be built and at the same time, reassured all the nobility and other wealthy groups of their political and social standings. He made it clear that he was the final decision maker yet he still needed the help of the nobility and other authorities.

Louis XIV, France’s Sun King, had the longest reign in European history (1643-1715). During this time he brought absolute monarchy to its height, established a glittering court at Versailles, and fought most of the other European countries in four wars. Although his reign had some negative aspects; on balance, Louis’ reign was primarily a benefit to France.

The era known as the Baroque period includes the seventeenth and most of the eighteenth centuries in Europe. The Baroque style was a style in which the art and artists of the time focused upon details and intricate designs. Their art often appeals to the mind by way of the heart. During this time the portraits began to portray modern life, and artists turned their backs on classical tradition. Much of the art shows great energy and feeling, and a dramatic use of light, scale, and balance (Preble 302). Buildings were more elaborate and ornately decorated. These works of art created history and altered the progress of Western Civilization. Architecture such as the palace of Versailles, and artists like

The reign of Louis XIV was the longest of the modern era, and during his time, France reached remarkable achievements in art and architecture, such as the Palace of Versailles. Louis XIV was responsible for creating the lavish complex that was filled with Baroque interiors and surrounded by French and English gardens. In its later years, it was further renovated for other kings then given to the Republic for public use. Through its elaborate ornamentation and massive scale, the Palace of Versailles represents the glory of the Sun King and expresses the power of the French monarchy.

Louis XIV had a passion for glory and used it to fight four wars because he was motivated by personal and dynastic considerations.

Louis XIV became the king and ruler of France, and believed in the divine right of kings. He ruled in royal absolutism by commanding that the secretaries and ministers would do all favors for him, not to sign anything without him, they had to keep themselves accountable to him personally every day, and be subservient to him. Louis ruled his kingdom through several counsels of state, and took a personal role in many of the counsel’s decisions. He was alone in command when it came to the clergy, nobility, and commoners.

While perusing the paintings in the Legion of Honor Museum, Allegory of Geometry instantly captured my attention. Painted in 1649, this oil on canvas by Laurent De La Hire is very different from other paintings one might see traditionally. At first look, the eye is immediately drawn to the pop of red in the shawl of the only figure in the painting. Since, typical to Baroque paintings, the rest of the painting is earthy tones, the red in her shawl really commands the attention. However, if we take a closer look at the sculpture to the back left of the maiden, we see that featured in it is a calf. The calf was one of the most prominent holy symbols of the Baroque period. Additionally, we see a more pronounced religious symbol, the snake, suggesting

To understand the characteristics of Baroque style is to truly understand artistic measures of the sixteenth to eighteenth centuries. Baroque, a single word describing an entire period of art, can be broken down into more than one actual form of art. The new European age birthed this developing style of architecture, coming from ideas on religion and politics. Set apart in three different countries, visitors of St. Peter’s Basilica, Versailles, and Hampton Court Palace, engulf themselves in historic Baroque styles and beauty. The international style “was reinterpreted in different regions so that three distinct manifestations of the style emerged” (Matthews 392). The florid, classical, and restrained baroque design of the three different buildings gives us a historic lesson on the reasoning behind its purpose.

In the introduction to The Fabrication of Louis XIV, Peter Burke expresses his ambition to write a study of Louis XIV 's public image as a whole and the changes it underwent throughout Louis 's reign. This book examines the relation between art and power and the official structures responsible for making – fabricating – the image, or more appropriately, the images of Louis XIV, as well as their contemporary reception. As the title suggests and as Burke himself reminds the reader, the book as a whole focuses on the ideas of royal myth and royal narrative, and the manipulation of information.