Le Crucifix aux anges de Charles Le Brun Genèse et enjeux d'une commande d'Anne d'Autriche

• Autores: Anne Pas de Sécheval
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 176, 2012, págs. 43-49
• Idioma: francés
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• Resumen

  • The Crucifix aux Anges, painted by Charles Le Brun in 1661 for the oratory of the Queen Mother in the Louvre, is both famous and forgotten. This study focuses on the various aspects of the historical context of the conception and the execution of a painting that remains exceptional as to its origin (the Queen's devout vision), its iconography as well as its complex spiritual, political and artistic issues. The in-depth analysis of the visual specificities of the work provides evidence of Le Brun's skills in representing a program inspired by Carmelite spirituality, but whose direct origin was most likely the Queen's vow to Saint Michael made during the Fronde, for the return of peace to the kingdom, and composed by the Abbé Olier, founder of the Séminaire de Saint-Sulpice. In 1686, the Crucifix aux Anges became famous thanks to the engraving ordered by Le Brun from Edelinck and dedicated to the king. It is now possible to prove that Claude-François Ménestrier, S. J., was the author of the text of the dedication, developed by him in La Science et l'Art des Devises published the same year. He implicitly took a position in the rivalry between the Premier Peintre du roi and Mignard, and proposed a new meaning for the painting in relation to recent political and religious events.