Friezen met wapen van Frankrijk, putti en zeewezens 1672 - 1686

Louis de Châtillon made these three friezes with pen in the 17th or 18th century. Here, idealized figures populate the realm of myth and allegory that was so persuasive in early modern France. Look at how the image creates meaning through cultural references and historical associations. De Châtillon was employed to create designs for royal tapestry manufactories such as Gobelins, and the prints were likely intended as a resource for other artists working for the court. The prominent display of the French coat-of-arms in the top panel makes clear that these images are intended to enhance the prestige of the monarchy. The ornamental style of these friezes evokes triumphal processions, and the putti and sea creatures were common tropes in the visual rhetoric of absolutist power. Do these friezes serve to reinforce the authority of the monarchy, or do they offer a subtle critique? As an art historian, I see the importance of understanding the social and institutional context in which art is made. Further research into the artist's patronage and the political climate of the time would help us to interpret the meaning of these images.