Molière op audiëntie bij Lodewijk XIV 1859

Editor: This is an engraving by Léopold Flameng, titled "Molière op audiëntie bij Lodewijk XIV" from 1859. It's fascinating how much detail he achieves with just ink on paper. It feels quite staged, a formal royal portrait. What strikes you most about this piece? Curator: Well, for me, it's all about the power dynamics being depicted. We have Molière, the celebrated playwright, presented before Louis XIV. But consider the *context*. Flameng created this print in the 19th century, long after both figures were gone. So, it’s not just a historical record. It’s a *representation* of how the French viewed their cultural icons and their relationship with power, after, notably, a revolution. Editor: That's interesting, I hadn't thought about the later date of creation. How does the setting contribute to this representation? Curator: Notice how Louis XIV is positioned: enthroned, elevated, almost unapproachable. But the very *idea* of a playwright like Molière, a commoner, even being granted this audience challenges the strict social hierarchies of the time. The print, created during a period of burgeoning republican sentiment in France, hints at a kind of cultural meritocracy that perhaps wasn’t fully realized in the 17th century but was definitely a point of national interest in the 19th. Do you see any visual cues that might emphasize that point? Editor: Maybe the fact that Molière is standing quite confidently, not groveling or appearing intimidated. It's like Flameng is imagining a more equal exchange, even in this unequal setting. Curator: Precisely. It highlights how art serves not just to reflect the past, but also to shape our understanding of it and subtly comment on the present. Editor: That makes so much sense. I see it now – the artwork as a commentary on history, filtered through a later socio-political lens. Curator: Exactly. History isn't static, and neither is art about history. They are both always being re-evaluated.