Similarities in Selected 17th-Century Paintings at the Metropolitan Museum of Art in New York - Term Paper Example

Similarities in selected 17th-century paintings at the Metropolitan Museum of Art in New York The 17th century in Europe was characterized by early modernity, the Baroque cultural movement, the General Crisis, the Scientific Revolution and the Dutch Golden Age. It was, therefore, a century of new discoveries and political changes. During this time there emerged several painters who are remembered for painting portraits of powerful families and personalities (Hour and Fleming 20). Some of the famous painters of this time included: Philippe de Champaigne, who was born on 26th May 1602 in Brussels Southern Netherlands. One of his famous paintings is the Jean-Baptiste Colbert portrait. Another famous painter of this era was Charles Le Brun, who was born on 26th February 1619. He is remembered for painting a portrait of the Everhard Jabach and his family. Last but not least is Nicolas de Largillierre, who painted a portrait of a woman who is presumed to be Madame Claude Lambert de Thorigny. These are some of the notable paintings of the second half of the 17th century. The essence of this paper is to compare the similarities in these paintings regarding iconography, style and cultural significance. This will be achieved by discussing each of the paintings, explaining what each portrait represents and illustrating how it compares to the other paintings. Finally, a philosophical link will be established between these paintings to Thomas Hobbes’ theory of the Social Contract. Jean-Baptiste Colbert (1619–1683) by Philippe de Champaigne This painting of Jean-Baptiste was painted by Philippe de Champagne, who used oil to paint the image on a canvas in 1666. Jean-Baptiste Colbert served as the controller general of finance and the secretary of state for the navy during the reign of King Louis XIV of France. He was the man behind the implementation of the economic reconstruction of Europe, which enabled France to become a dominant power in Europe at that time. He is remembered for codifying the maritime, commercial and colonial ordinances as well as reforming the French legal system. In this painting Philippe, like in his other paintings, does not depict the transitory expression of his model but instead captures the physiological essence behind him. As such he portrays Jean-Baptiste as a well-respected gentleman of means who has the power, wit and influence in society. Philippe just like Le Brun uses a black costume to illustrate Jean’s masculinity and confidence. He further uses contours on the costume to show its density and quality. The painter probably used this illustration because Colbert was popular for advocating for laws on quality improvement of cloths by merchants. As such he had an affinity for dressing in quality attire. This painting like the other two paintings by Le Brun and Nicolas, give an illustration of a society that was slowly coming into self-awareness, and a class of the well-to-do was emerging. In this painting Philippe like the other two painters, uses costumes to illustrate the affluent lifestyles of these people who were well-known and respected in society. Everhard Jabach (1618–1695) and His Family painted by Charles Le Brun This painting by Charles Le Brun was painted using oil on canvas in 1660. It is 62x128 inches. The painting is a depiction of Everhard Jabach (who was born in Cologne and lived between 1618 and 1695) and his family. Jabach after inheriting his father’s banking business became a banker as well as an art collector. Those featured in this portrait include his wife Anne-Marie de Groote and their four children: Marie-Anne (born 1649), Henry (born 1658), Helene (born October 1654) and Everhard (born September 1656). This portrait also features a mirror reflection of Le Brun which he included showcasing what he used to refer to as "uni d’amitié et d’inclination avec le sieur Jabach” to mean “united friendship and inclination with Sir Jabach”. Le Brun uses this reflection to illustrate his close relationship with the patron as he sees himself as part of the family. The setting of this portrait just like the Jean-Baptiste painting and the portrait of a woman by Nicolas speaks of opulence. The portrait of Jabach and his family is set in a lavish interior that is furnished with landscape paintings and an oriental carpet (Walsh 31). At the bottom of the painting is a collection of valuables possibly owned by Jabach, which include a celestial globe on an oak stand among other valuables. On the right side of the painting shows a lion that is attacking a horse. This illustration is based on a sculpture found at the Palazzo dei Conservatori in Rome. Le Brun uses several elements in this painting to combine composition and iconography. For example, he uses the division of the floor between an area of marble and a carpeted area to create a gender divide. Le Brun places the young Everhard (who seems to have climbed the back of his parents’ chairs) between the father and mother. This young boy is poised between the pursuits of adulthood as depicted by the sources of learning in the picture and childhood as depicted by the toy horse and the pet dog. His position in the portrait also portrays the protection he receives from his parents as well as the endless possibilities suggested by the presence of the celestial globe that his mother is looking at. On the right side of the portrait, Marie-Anne is seen looking beyond the picture space. This could be Le Brun illustration of Maries leaving the family because considering her age she will also be married soon. Le Brun’s style in this picture is that of impeccable iconography, angle projection and a balanced disposition of muted colours. Le Brun uses a black costume on Jabach to offset the primary colours in the costumes worn by the rest of the family. Marie-Anne is painted in a blue-beaded necklace, a golden-coloured veil, blue ribbons and a flowered dress to show her adolescence. The red colours on her dress are then picked up on the cushion that Henri is seated on, the ribbons in Helene’s hair and the tunic illustrated on the elder son. Le Brun further plays with colours by adding a play of straight lines and curves which are then followed by the globe placed next to the cube stone. He further contrasts the folds in the curtains to the fluting of the pilaster on the right side and the curved picture frame that is strategically placed near a rectangular frame. This geometrical composition and precise ordering of items is further enhanced by how Le Brun positions the protagonists’ heads whereby Jabach’s head is drawn at an apex of imaginary lines that run though the heads of Minerva and Le Brun on the left side and through the heads of Anne-Marie, young Everhard and Anne on the right. Another line is seen to originate from Marie-Annes head and pass the infants heads into Jabach’s hands that are pointing at the Bible and the burst of Minerva. This is used by Le Brun to show the connection between the family and the objects of learning. In this portrait, the painter has spectacularly depicted the affluent culture that existed in Europe at this time by including paintings and an oriental carpet in this picture. This kind of style used by Le Brun is similar to that of Nicolas who illustrates wealth and influence in his portrait of a woman by painting presence of valuable items. The items illustrated in these paintings were only accessible to those who had means. Le Brun also uses learning items to illustrate the enlightenment and scientific revolution that was taking place in Europe at the time. "Portrait of a Woman, Possibly Madame Claude Lambert de Thorigny (Marie Marguerite Bontemps)" (Walsh 34 ) painted by Nicolas de Largillierre This woman portrait was done by Nicolas de Largillierre in 1696 using oil on canvas. Nicolas used this portrait of a woman (whose identity was not disclosed though she was assumed to be Madame Claude Lambert de Thorigny) to show the lavishness that existed among the wealthy. In this painting, Nicolas just like Le Brun used soft colors and still life details to reflect the wealthy life of the bourgeoisies of this time. In his painting, the woman is wearing a complicated dress that is salmon pink dress with a bodice that rises above one shoulder and a gold velvet skirt which seems to be sewn beneath it and includes the right arm. The dress is furnished with grey satin and a jeweled girdle. The painter also includes ruffles on the sleeves of the dress while the rest of it remains puffy at the bottom. Nicolas uses detailed iconography in this painting to depict a noble lady in her dressing room. In the portrait, just like Le Brun, Nicholas uses furnishings like a Chinese vase, a jewel box with a pearl necklace and a gilded table to show that the setting is in an affluent environment. These elements are used to depict the owner’s high social rank in society. Just like in Jean-Baptiste portrait, Nicolas uses the lady’s direct gaze to show her self-confidence. Ones self-confidence was becoming common personal attribute in the society of this time as this was the age of self-awareness. The ribbon tied on the hair just like that on Marie-Anne in the family portrait illustrates the attention that the females in this society paid to their beauty as one’s beauty was deemed to equate to one’s worth. The link between 17th-century paintings and Thomas Hobbes’ Social Contract philosophy One of the notable philosophers who lived in the 17th century was Thomas Hobbes, who is remembered for his contribution to philosophy through the social contract ideology among other works. His theory of the Social Contract played a critical role in the mid-17th century as it came during the age of enlightenment (Friend 2). The paintings that have been discussed in this paper can be tied to this philosophy as they depict a society that was evolving socially, economically and politically. The portrait of a woman, for instance, was painted at a time when King Louis XIV had established his residence at the Palace of Versailles where he had instructed the affluent members of the society to move in with him and live like him. This kind of authority is the one that Hobbes addresses in the Social Contract when he questions the extent of the legitimacy of the state over the individual. In both the Jean-Baptiste painting and the portrait of the Everhard Jabach family, there is the depiction of authority. Jean serves as a political figure while Jabach is the head of the family and an affluent member of the society that is governed by those in power. In both cases, we note that the people have consented to surrender to a higher authority and submit to a ruler. It is this kind of voluntary consent that Hobbes investigates in the social contract (Friend 1). In Hobbes views, the absence of political order and law would lead to chaos as each person would have unlimited freedom to do as he pleased. This would mean people would have the freedom to engage in criminal activities such as theft and murder. It was because of such reasons that the mid-17th-century society saw it fit to have in place a government that would enforce order. This is what led to the need to form a political community where people like Jean-Baptiste would assure them of their safety and the security of their valuables and businesses. Conclusion The paintings by Nicolas de Largillierre, Philippe de Champaigne and Charles Le Brun are not only valuable because of their aesthetic beauty but also because of their historical teachings. Such paintings give us insight into the political, economic and socio-cultural structures of the mid 17th century where we get to learn about the norms and practices that existed in this society. Such include family setting, role of men and women as well as patriarchy that was highly practiced at that time. References Honour, H. and J. Fleming. A World History of Art. 7th Ed. London: Laurence King Publishing,2009. Print Friend, Celeste. "Social contract theory. Internet Encyclopedia of Philosophy. “Retrieved October 15 (2004): 2004. Walsh, L. "Charles le Brun, ‘art dictator of France’", in Perry, G. and Cunningham, C. (eds.) Academies, museums and canons of art. New Haven: Yale University Press, 1999 Read More