Louis XV: Peace Concluded at Aix-la-Chapelle 1748

Editor: This bronze medal, "Louis XV: Peace Concluded at Aix-la-Chapelle" by François Joseph Marteau, dated 1748, seems relatively straightforward at first glance, with its depiction of a king in profile. But I wonder if there's more to unpack about its design? How do you interpret this work in terms of its form and structure? Curator: The success of this portrait relies heavily on the precise, clean lines. Consider the artist's manipulation of relief. Note how the textures—from the inscription to the king’s coiffure—are meticulously rendered. The controlled dynamism within this small, circular space commands attention. Is this tension purposeful? Editor: Yes, I would agree it's purposeful. Perhaps to represent the achievements of King Louis. But it doesn't evoke emotion, necessarily, but rather… recognition. And, looking at the lettering now, it’s all about clarity, the clear depiction of status. Curator: Precisely. Marteau uses the classical profile, almost austere in its detachment, while the Baroque flourish of the wig offers a contrasting textural richness. This dialectic emphasizes a particular kind of power – rational and decorative, all at once. A potent synthesis. Editor: That's a useful idea: a synthesis between the rational and the decorative. Thinking about the way the portrait and inscription merge as a circular design also adds another level of refinement, so neat! I appreciate now how this Baroque sculpture goes beyond being merely commemorative. Curator: Agreed. By attending closely to form, we gain insight into the era’s vision for political legitimacy. Every mark contributes meaning to the portrait.