Picturing Marie Leszczinska (1703-1768)
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A01=Jennifer G Germann
Author_Jennifer G Germann
Category=AB
Category=AGA
Category=NHD
Comte De Maurepas
De Versailles
Duc De Bourbon
Duc De Luynes
Duchesse De Bourgogne
eighteenth-century portraiture
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
feminist art analysis
feminist theory
French art
French monarchy history
gender and power
gender studies
imperialism
Jean Marc Nattier
La Font De Saint Yenne
La Tour
La Tour's Portraits
La Tour’s Portraits
Le Brun's Painting
Le Brun’s Painting
Louis XV
Louis XV's Reign
Louis XV’s Reign
Madame De Maintenon
Madame De Pompadour
Madame De Prie
Maintenon
Marie Leszczinska
Marquise De Maintenon
Marquise De Pompadour
Maurice Quentin De La Tour
monarchy
Noble Femininity
portraits
portraiture
Queen's Portrait
queens
Queen’s Portrait
representation of political women
RMN Grand Palais
royal iconography
royalty
Salon De La Paix
Van Loo's Portrait
Van Loo’s Portrait
visual culture studies
women in politics
women's studies
Young Man
Product details
- ISBN 9780367668587
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 30 Sep 2020
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Portraits of Queen Marie Leszczinska (1703-1768) were highly visible in eighteenth-century France. Appearing in royal châteaux and, after 1737, in the Parisian Salons, the queen's image was central to the visual construction of the monarchy. Her earliest portraits negotiated aspects of her ethnic difference, French gender norms, and royal rank to craft an image of an appropriate consort to the king. Later portraits by Maurice-Quentin de La Tour, Carle Van Loo, and Jean-Marc Nattier contributed to changing notions of queenship over the course of her 43 year tenure. Whether as royal wife, devout consort, or devoted mother, Marie Leszczinska's image mattered. While she has often been seen as a weak consort, this study argues that queenly images were powerful and even necessary for Louis XV's projection of authority. This is the first study dedicated to analyzing the queen's portraits. It engages feminist theory while setting the queen's image in the context of portraiture in France, courtly factional conflict, and the history of the French monarchy. While this investigation is historically specific, it raises the larger problem of the power of women's images versus the empowerment of women, a challenge that continues to plague the representation of political women today.
Jennifer G. Germann is Assistant Professor in the Department of Art History at Ithaca College, USA.
