The Marie de' Medici Cycle is a series of twenty-four paintings by which artist?
"Christian world, as well as that of the Greek and Roman pantheon was understood by well-educated artists and citizens alike, and a familiar device used in artistry. Rubens painted extravagant images of the Queen Mother surrounded by ancient gods and at times even deified her using these devices. The ambiguity of the figures was essentially used to depict Marie in a positive light. Rubens's Medici commission was an inspiration for other artists as well, particularly the French painters Jean-Antoine Watteau (1684–1721) and François Boucher (1703–1770) who produced copies from the Medici cycle. Peter Paul Rubens (1577–1640) was a highly influential"
"Henry IV"" (1628–30) and the Torre de la Parada series (""c"". 1637–1640). The ""Life of Henry"" series was commissioned from Rubens by Marie de' Medici in February 1622 together with a series of paintings about her own life. The two series were intended to decorate the Luxembourg Palace, her new dwellings in Paris that were then under construction. Marie de' Medici had been the Queen of France as the second wife of King Henry IV of France, of the House of Bourbon. Following the assassination of her husband in 1610, she acted as regent for her son, King Louis XIII"
"allegorical terms, and was finished by the end of 1624, to coincide with the celebrations surrounding the wedding of her daughter, Henrietta Maria to Charles I of England on 11 May 1625. The cycle of paintings dedicated to the life of Henry IV was never completed, although some preliminary sketches survive. (See #Henry IV Cycle below). The fact that the Henry IV series was not realized can be attributed in part to Marie de' Medici being permanently banned from France by her son in 1631. She escaped to Brussels, and later died in exile in 1642 in the same house"
"Rubens left the printmaking to specialists, who included Lucas Vorsterman, Paulus Pontius and Willem Panneels. He recruited a number of engravers trained by Christoffel Jegher, who he carefully schooled in the more vigorous style he wanted. Rubens also designed the last significant woodcuts before the 19th-century revival in the technique. In 1621, the Queen Mother of France, Marie de' Medici, commissioned Rubens to paint two large allegorical cycles celebrating her life and the life of her late husband, Henry IV, for the Luxembourg Palace in Paris. The Marie de' Medici cycle (now in the Louvre) was installed in 1625, and"
"be obtained through marriage and it is the marriage of her daughter Henrietta Maria to Charles I that rushed the completion of the Medici Cycle. The remaining three paintings are portraits of Marie de' Medici, her father Francesco I and her mother Johanna of Austria. On either side of the fireplace in the gallery are the portraits of the Queen's parents. The portrait of the Queen's father, Francesco I, is on the right and faces the passageway towards Marie de' Medici's private chambers. Francesco I is depicted wearing an ermine-lined mantle with a cross around his neck which represents the"
"Portrait of Carlo de' Medici The Portrait of Carlo de' Medici is a painting by the Italian Renaissance master Andrea Mantegna, executed in 1466. It is now housed in the Uffizi Gallery of Florence. Little is known about the painting's origins, and currently the most credited hypothesis is that it would portray Carlo de' Medici, an illegitimate son of Cosimo de' Medici the Elder and a Circassian concubine, as hinted by the subject's intense blue eyes. In 1912 a copy of the portrait was included in a genealogy of the House of Medici. This is however in contrast with the"
"the centre is a gilt metallic amphora, in which are several lilies: the white ones symbolize the Virgin's purity, while the red ones are another reference to Florence. Medici Madonna (van der Weyden) The Medici Madonna is an oil-on-panel painting by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1464 and housed in the Städel, Frankfurt, Germany. The work is known to have been commissioned by the Medici family in Florence, as testified by the Florentine coat of arms with a red lily at the center of the lower step. The work has been variously dated from 1450–1451,"
"With the removal of the scales she carried in an earlier sketch that would have connected her to Louis XII, we are left with an entity who with no help from Louis, slays the adversary as he appears oblivious and unconcerned. Marie de’ Medici however, emerges as a loving mother, ready to forgive all evils and pain endured. The last painting in the cycle, ""The Triumph of Truth"", is a purely allegorical depiction of King Louis XIII and his mother, the Queen, reconciling before heaven. The Queen and Louis XIII are depicted floating in heaven, connected by the symbol of"
"signifies the allegory of Henry IV, the promiscuous husband. The cycle's second painting, ""The Birth of the Princess"", represents Medici's April 26, 1573 birth. Symbols and allegory appear throughout the painting. On the left, two putti play with a shield on which the Medici crest appears, suggesting that Heaven favored the young Medici from the moment of her birth. The river god in the picture's right corner is likely an allusion to the Arno River that passes through Florence, Marie's city of birth. The cornucopia above the infant's head can be interpreted as a harbinger of Marie's future glory and"
"different times of the day, which resulted during his active career in many distinct Monet series, like for example the ""Water Lilies"" series, ""Poplar"" series, ""Rouen Cathedral"" series, ""Haystacks"" series and ""Charing Cross Bridge"" series. Monet painted 37 works of Venice during his three-month stay in Italy, from October to December, including this painting and five more depicting the same theme, Canale Grande. One is hosted at the Fine Arts Museums of San Francisco. This painting depicts the view from the Palazzo Barbaro. Monet’s series introduced a fresh approach to a theme that was painted by many notable artists before"
"without being seen by the crowd. The sacristy, accessed through a doorway in what would have been the left sixth chapel preceded by a monumental vestibule by Simone del Pollaiolo, was designed by Giuliano da Sangallo in 1489, and has an octagonal plan. It is home to a devotional painting of ""St. Fiacre curing the Sick"" (1597) by Alessandro Allori (1596) commissioned by Christine of Lorraine, Grand Duke Ferdinando I de' Medici's wife. The 38 chapels and their works of art are: Michelangelo Buonarroti, when he was seventeen years old, was allowed to make anatomical studies on the corpses coming"
"Water Lilies (Monet series) Water Lilies (or Nymphéas, ) is a series of approximately 250 oil paintings by French Impressionist Claude Monet (1840–1926). The paintings depict his flower garden at his home in Giverny, and were the main focus of his artistic production during the last thirty years of his life. Many of the works were painted while Monet suffered from cataracts. Monet's long preference for producing and exhibiting a series of paintings related by subject and perspective began in 1889, with at least ten paintings done at the ""Valley of the Creuse"", which were shown at the Galerie Georges"
"Medici Madonna (van der Weyden) The Medici Madonna is an oil-on-panel painting by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1464 and housed in the Städel, Frankfurt, Germany. The work is known to have been commissioned by the Medici family in Florence, as testified by the Florentine coat of arms with a red lily at the center of the lower step. The work has been variously dated from 1450–1451, when the artist travelled to Rome visiting several Italian courts, or from 1460–1464, the same years of the ""Lamentation of Christ"", inspired by Beato Angelico and now at"
"and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris. The three paintings are: The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist. The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed. They may represent"
"of Provence, Marguerite of Navarre, Marie de' Medici, Mary, Queen of Scots, Matilda, Duchess of Normandy, Saint Bathild, Saint Clotilde, Saint Genevieve, and Valentina Visconti. Other sculpted work includes: The Medici Fountain (""La fontaine Médicis"") was built in 1630 by Marie de' Medici, the widow of King Henry IV of France and regent of King Louis XIII of France. It was designed by Tommaso Francini, a Florentine fountain maker and hydraulic engineer who was brought from Florence to France by King Henry IV. It was in the form of a grotto, a popular feature of the Italian Renaissance garden. It"
"patron. The cycle was of six scenes from the life of Saint Francis of Assisi, including ""Saint Francis obtaining from Pope Honorius the Approval of the Rules of His Order"", the saint's ""Death and Obsequies"" and a ""Resuscitation"" of a child of the Spini family, who had died as a result of a fall from a window. The first of these paintings contains portraits of Lorenzo de' Medici, Sassetti and Lorenzo's children with their tutor, Agnolo Poliziano. The ""Resuscitation"" shows the painter's own likeness. In 1483, there arrived in Florence a masterpiece of the Flemish painter Hugo van der Goes."
"Adoration of the Magi (Botticelli, 1475) The Adoration of the Magi is a painting by the Italian Renaissance master Sandro Botticelli, dating from 1475 or 1476, early in his career. The work is on display at the Uffizi in Florence. Botticelli was commissioned to paint at least seven versions of ""The Adoration of the Magi"". This version was commissioned by Gaspare di Zanobi del Lama for his funerary chapel in Santa Maria Novella. In the scene numerous characters are present, among which are several members of the Medici family: Cosimo de' Medici (the Magus kneeling in front of the Virgin,"
"The Four Seasons (Poussin) The Four Seasons (""fr"" Les Quatre Saisons) was the last set of four oil paintings completed by the French painter Nicolas Poussin (1594–1665). The set was painted in Rome between 1660 and 1664 for the Duc de Richelieu, the nephew of Cardinal Richelieu. Each painting is an elegiac landscape with Old Testament figures conveying the different seasons and times of the day. Executed when the artist was in failing health suffering from a tremor in his hands, the ""Seasons"" are a philosophical reflection on order in the natural world. The iconography evokes not only the Christian"
"de' Medici, but which no longer exists. He also produced designs for a number of mosaics including the ""Annunciation"", on a portal of the Florence Cathedral. Ghirlandaio died in 1494 of ""pestilential fever"" and was buried in Santa Maria Novella. The day and month of his birth remain undocumented, but he is recorded as having died in early January of his forty-fifth year. He had been twice married and left six children. One of his three sons, Ridolfo Ghirlandaio, also became a painter. Although he had a long line of descendants, the family died out in the 17th century, when"
"The Princesse de Broglie The Princesse de Broglie (French La Princesse de Brogli) is an oil on canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. Completed between 1851 and 1853, it shows Pauline de Broglie, styled Princesse, who, in 1845, married Albert de Broglie, the 28th Prime Minister of France. Pauline was aged 28 at the time of its completion. She was highly intelligent, widely known for her beauty, and deeply religious, but suffered from profound shyness, and the painting captures her melancholia. Pauline contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived"
"at its most effective, emphasized by the soft continual contours and pastel colors. The ""Primavera"" and the ""Birth"" were both seen by Vasari in the mid-16th century at the Villa di Castello, owned from 1477 by Lorenzo di Pierfrancesco de' Medici, and until the publication in 1975 of a Medici inventory of 1499, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the ""Primavera"" was painted for Lorenzo di Pierfrancesco's townhouse in Florence, and ""The Birth of Venus"" was commissioned by someone else for a different site. Botticelli painted only a small number"
"and mature than in the preceding panel (Peace is Confirmed in Heaven). It is at this point that the Medici Cycle changes to the subject of the Queen Mother's reign. With the death of son Louis' court favorite, Charles d'Albert de Luynes, mother and son reconcile. Marie receives ultimate vindication by being re-admitted to the Council of State in January 1622. This picture represents how time thus uncovers the truth in correspondence to the relationship between Marie and her son. The final painting coincided with Marie's interest in politics after the death of her husband. She believed that diplomacy should"
"Consequences of War Consequences of War, also known as ""Horror of war"", was executed between 1638-1639 by Peter Paul Rubens in oil paint on canvas. It was painted for Ferdinando II de' Medici. Although commissioned by an Italian, art historians characterize both the work and the artist as Flemish Baroque. It serves as a commentary on a European continent ravaged by the Thirty Years' War, and the artist employed numerous symbols, both contemporary and ancient, to deplore the state of the continent. Mars: Mars is the central figure in the composition. The Roman god of war charges with shield and"
"as ""I fatti della vita del beato Carlo"" (""The Facts of the Life of Blessed Charles""). It consists of 28 paintings depicting his life, concentrating upon his tenure as Archbishop of Milan. Work on this cycle continued into the late 18th century. The first twenty large paintings, all tempera on canvas, were painted by Il Cerano (4 paintings), Giovanni Mauro della Rovere (Il Fiammenghino) (3), Il Duchino (7), Procaccini (1), Carlo Buzzi (2), Domenico Pellegrini (1), and Morazzone. The second cycle, ""I miracoli di San Carlo"" (""The Miracles of St. Charles""), consists of 24 paintings of Charles' miraculous works and"
"Giovanni de' Vecchi Giovanni de' Vecchi (1536, Sansepolcro – 1614) was an Italian painter of the Renaissance period. Born in Borgo San Sepolcro, He first apprenticed with the painter Raffaello del Colle, then with Taddeo Zuccari, whom he assisted in the interior decoration of the Villa Farnese at Caprarola, a major work in the Mannerist aesthetics. He also has paintings of the ""Life of St. Jerome"" in Ara Coeli which he painted for the Delfin family, and in In the cupola of the Gesu, he painted the ""four doctors of the church (Gregory, Ambrose, Jerome, and Augustine)"". The mosaics for"
"Giovio Series The Giovio Series, also known as the Giovio Collection or Giovio Portraits, is a series of 484 portraits assembled by the 16th-century Italian Renaissance historian and biographer Paolo Giovio. It includes portraits of literary figures, rulers, statesmen and other dignitaries, many of which were done from life. Intended by Giovio as a public archive of famous men, the collection was originally housed in a specially-built museum on the shore of Lake Como. Although the original collection has not survived intact, a set of copies made for Cosimo I de' Medici now has a permanent home in Florence's Uffizi"
"to Ferdinando I de' Medici, Grand Duke of Tuscany, in 1589. The tapestries are now stored at the Uffizi Gallery in Florence, Tuscany, but are not on public display. The tapestries are based on six (possibly eight) designs drawn by the artist Antoine Caron during the reign of King Charles IX of France (1560–1574). These were modified by a second artist, who reveals a strong personality of his own, to include groups of full-length figures in the foreground. Historian Frances Yates believed that this second artist was the influential Lucas de Heere. The Protestant de Heere, who died in 1584,"
"artworks. He also continued to collect rare books, adding many to the Medici collections. He died in 1469 as a result of gout and lung disease and is buried in the Church of San Lorenzo, next to his brother Giovanni. The tomb, created by Andrea del Verrocchio, was commissioned by his sons Lorenzo and Giuliano. On 3 June 1444, Piero married Lucrezia Tornabuoni (1427–1482). Their children include Lorenzo the Magnificent and Giuliano de' Medici. All his family is probably portrayed in the famous painting by Botticelli known as the Madonna of the Magnificat, in which Lucrezia Tornabuoni appears as the"
"between royal houses. Cupid and Juno bind two doves together over a split sphere in the painting as a symbol of peace and love. Marie hoped for her son, Louis XIII, to marry the Spanish Infanta Anne and for her daughter Elizabeth to marry the future king of Spain, Philip IV, possibly resulting in an alliance between France and Spain. To Marie de' Medici these unions were probably the most significant part of her reign, for peace in Europe was Marie's greatest goal. ""The Council of the Gods"" is one of the least understood paintings of ""Marie de' Medici cycle""."
"of Catherine's son François, Duke of Anjou, who was elected duke of Brabant, in the Spanish Netherlands in 1580, in defiance of the Spanish administration. Anjou figures prominently in the tapestries. Catherine de’ Medici herself appears as a central figure in black in most of them. It is believed that she gave them to her granddaughter Christina of Lorraine in advance of her wedding to Ferdinand de’ Medici, Grand Duke of Tuscany in 1589. The tapestries glorify the house of Valois by celebrating its magnificent festivals. According to the contemporary art historian Vasari, Catherine wanted Michelangelo to make her husband"
"cycles probably came from Francesco Federico Frezzi, the bishop of Foligno and author of the ""Quadriregio"", a poem of the four kingdoms Love, Satan, the Vices, and the Virtues. Some of these frescoes were painted between 1411 and 1412 by Gentile da Fabriano, with the assistance of Jacopo Bellini. The designs were by Gentile, but their painting was almost completely done by pupils. The authorship of the frescoes was attested by Lodovico Coltellini, a scholar who saw in 1780 two receipts to Ugolino Trinci by Gentile da Fabriano for painting the halls. Some of the frescoes in the palace depicting"
"Consequently, both Michelangelo's outlook and his art were subject to the influence of many of the most prominent philosophers and writers of the day including Marsilio Ficino, Pico della Mirandola and Angelo Poliziano. Michelangelo studied sculpture under Bertoldo di Giovanni. At this time Michelangelo sculpted the reliefs ""Madonna of the Steps"" (1490–1492) and ""Battle of the Centaurs"" (1491–1492). The latter was based on a subject suggested by Poliziano and was commissioned by Lorenzo de' Medici. Lorenzo de' Medici's death on April 8, 1492, brought a reversal of Michelangelo's circumstances. Michelangelo left the security of the Medici court and returned to"
"talking to Donatello and Luco della Robbia, the sculptors who helped to cast the doors. Artists Raphael, Michelangelo and Botticelli are in the centre of the art piece. Leonardo da Vinci is further to the right among artists determining the position of Michelangelo’s “David”. Panel 2 ""Jeane Diamond"" Lorenzo de' Medici, the Magnificent (1441-1492) is the main subject of this panel, as he rides through the streets of Florence. Panel 3 ""Anne Montgomery"" This panel depicts events from the 13th Century to the early 15th century, showing Giotto as a boy, Cimabue to forerunner of new art, Arnoldo de Cambro,"