Apotheosis of Louis XIV 1677

Editor: This is Charles Le Brun's "Apotheosis of Louis XIV," an oil painting from 1677. It's so dramatic! Louis is on horseback, angels swirling, vanquished figures below... What strikes me most is how much this piece uses traditional techniques, but glorifies earthly power instead of religious themes. What do you see in it? Curator: This painting is dripping in material excess, intended to legitimize Louis's reign. Consider the sheer quantity of oil paint—pigments, many painstakingly sourced and processed, were deployed to create an illusion of divine right. This isn't just about aesthetic skill, it's about conspicuous consumption of resources. Editor: Conspicuous consumption? Could you say more? Curator: The scale is a clear demonstration of power. Larger works demanded more material, more artist's time and workshops, more public presence and prestige to Louis' status, compared to humbler forms of craft, like tapestry or sculpture. Even the seemingly classical themes serve to elevate his status in an era marked by developing concepts of the 'state.' It is far removed from daily experience, closer to manufactured history. Editor: I never considered the cost of the painting itself as a message. I always just focused on who was represented. Curator: The act of depicting Louis as ascending towards God is intertwined with social dynamics and economics. Ask yourself how the pigments and the artist’s labour supported this spectacle. And remember the piece’s place in the broader industry of image-making in service of power at the time. What might it mean? Editor: It’s incredible how the materials and techniques are connected to the whole political statement of the painting. Thanks for pointing that out! Curator: Indeed. Examining material realities provides a richer, and maybe more useful understanding, don't you think?