Author
Abstract
[fre] Résumé Dès le début du règne de Louis XIV, Colbert organise un système centralisé et institutionnalisé pour la conception, la réalisation et la diffusion de l'image royale. Le paradigme antique et la compétition avec les Puissances, notamment l'Espagne, sont les deux lignes directrices. L'imagerie traditionnelle du roi en majesté et du roi de guerre se maintient avec les tableaux officiels, les bustes, et les almanachs qui développent une propagande royale très concertée en milieu populaire. La représentation du roi en empereur romain, traditionnelle elle aussi, se rencontre sur les projets de Le Brun pour de grands monuments, et dans la statuaire. La thématique apollinienne fournit davantage un environnement mythologique (décors peints, statuaire) que des portraits à assimilation. L'histoire métallique du règne (frappe de médaille) n'en est qu'à ses débuts. La réalisation de tapisseries est la grande œuvre de cette décennie, sur le mode allégorique (les Éléments, les Saisons) ou réaliste : les Maisons royales et surtout l'Histoire du roi, la plus importante entreprise de mythification de la monarchie avant la galerie des glaces à Versailles. [eng] Abstract From the start of the reign of Louis XIV, Colbert set up a centralised and institutionalised system for creating and perpetuating the royal image. The two main directrices were the ancient paradigm and the rivalry with ruling Powers, notably Spain. The traditional imageries of the king in majesty and the king at war persisted in official paintings and busts and in the almanacs that concertedly spread royal propaganda among the people at large. We can see the traditional representation of the king as a Roman emperor in Le Brun' s plans for major monuments, and in sculptures. Apollonian themes created a mythological environment, with painted décor and sculptures, rather than true likenesses. Portrayal of the reign in metal (medal stamping) was only in its infancy. The major works of the decade were tapestries, and these were either allegorical, depicting the Elements and the Seasons, or realist, portraying royal residences and, in particular, the history of the king. This was the most significant means by which the monarchy was mythicised before the hall of mirrors was created at Versailles.
Suggested Citation
Gérard Sabatier, 2000.
"La gloire du roi. Iconographie de Louis XIV de 1661 à 1672,"
Histoire, économie & société, Programme National Persée, vol. 19(4), pages 527-560.
Handle:
RePEc:prs:hiseco:hes_0752-5702_2000_num_19_4_2134
DOI: 10.3406/hes.2000.2134
Note: DOI:10.3406/hes.2000.2134
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