Louis XIV by Hyacinthe Rigaud, 1701
Rigaud's Louis XIV of 1701, in the version at the Musée Condé in Chantilly. The king was sixty-three; the legs are a dancer's, the ermine is a coronation robe, and the face is the only part of the picture doing anything other than argument.
Bourbon portraiture was an office of state. Rigaud ran a workshop that produced replicas by the dozen for embassies, provincial governors and foreign courts, priced by how much of the canvas the master had touched; sitters were posed against a fixed vocabulary of column, curtain and regalia that told a viewer exactly where they stood. Painting a face was the small part of the commission. See how Bourbon court patronage turned portrait art into political instrument.
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