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Who Was Louis Maurice Boutet de Monvel?
Louis Maurice Boutet deMonvel (1850 - 1913) was a French painter and illustrator born in Orléans, France. In 1896, de Monvel wrote and illustrated the successful book Jeanne d’Arc. Almost a decade later, he painted his rendition of Joan of Arc’s life in his series Joan of Arc (1906 - 1913). Many of the compositions from de Monvel’s children’s book made their way into the series of paintings, each with added elements to their composition. The de Monvel series is housed in the National Gallery of Art in Washington, DC, surrounded by Degas sculptures made of beeswax. The beautiful gold leaf accents in the paintings make them shine, and catch the attention of museum-goers.
The Vision and Inspitation (Joan of Arc Series I)
The Joan of Arc series starts with The Vision and Inspiration (1907-early 1909), which shows Joan as a young woman receiving a vision from St. Margaret of Antioch, St Catherine of Alexandria, and St Michael the Archangel. Behind Joan, there are sheep in a meadow. This shows Joan as a shepherdess, an occupation that Joan could have had in life before her military campaign. It parallels Jesus Christ, the shepherd of the Catholic faith. One of the women bestows Joan with a sword, showing that the saints are giving the Maiden the message to go and fight for her country by leading the Dauphin of France’s army into battle.
Her Appeal to the Dauphin (Joan of Arc Series II)
After Joan accepts the sword, the series leads into the next significant event of her life: her identification of the Dauphin—the eventual Charles VII. While in the exiled French court, Joan correctly identified Charles VII, who was hiding in the crowd of his courtiers. Because Joan identified him with the power of the Holy Spirit, the Dauphin agreed to have Joan lead his army against the British. The courtiers around look skeptically on as the scene unfolds, showing how unorthodox and surprising this moment is for everyone who witnessed it.
The Maid in Armor on Horseback (Joan of Arc Series III)
The next piece in de Monvel's sequence The Maid in Armor on Horseback (1908 - late 1909), shows Joan leading Charles VII’s army into battle, with the Dauphin having fulfilled his promise. The monks leading the procession hold themselves in somber reverence, showing they know the potential massacre. Further into the procession, Joan is presented in her typical way, prepared for battle and adorned in silver armor. She holds her hands in prayer, possibly praying for courage in the coming fight and a victory for France. The soldiers behind the procession have minimal armor on, wearing only helmets and with mismatched clothing, likely to indicate dwindling supplies. Their dire situation—made plain by the soldiers and the monks' attitudes—is a stark contrast to Joan's steady faith.
The Turmoil of Conflict (Joan of Arc Series IV)
This scene, The Turmoil of Conflict (late 1909 - early 1913), shows precisely what the name describes. The battle is presented as a crowded sea of bodies that is too dense for the fighters themselves to easily to distinguish who is on what side. The viewer too cannot distinguish which clearly which side is British and which is French. A strong sense of action leads the army on the right to attack downwards to the military on the left. The action makes the armies look like they are part of a wave cascading on top of one another. Since this scene does not clearly distinguish who is who, it helps reinforce that battles and war are chaotic and messy, not the glorious affairs they are sometimes described to be.
The Crowning at Reims of the Dauphin (Joan of Arc Series V)
Though the coronoation was delayed by the Dauphin's own hesitation, he was finally crowned in the Reims Cathedral in 1429. The now-King Charles VII is surrounded by Joan, clergymen, and noble people. The coronation scene shows Joan in white formal attire with hints of armor beneath. Her attire is patterned with golden fleur-de-lis, symbols of the French monarchy. She is also holding her war banner. This depiction shows Joan’s loyalty to the French crown, both in her dress and her position. Her central placement suggests she is a key figure at the coronation; and indeed, Charles would never have made it to Reims without her efforts.
The Trial of Joan of Arc (Joan of Arc Series VI)
After helping lift the English Siege at Compiègne in 1430, Joan was captured by the Burgundians. From there, she was taken to Beauvais, where Bishop Cauchon—shown here as the bishop in gold attire—presided over the trial in which she was charged for heresy. In this painting, Joan testifies to the court full of bored-looking men, who most likely did not even listen to her. She speaks from the heart when she tells the Bishop of her devotion to God.
Sources
The book is not displayed. but is housed in the European Drawing and Prints Room. It can never be displayed because of its fragility.
Fun fact: if you email the European Drawing and Prints Room at NGA, you can schedule a private appointment to see this work and many others for free.
NGA directory of all deMonvel pieces that they have:
Website containing scans of the original Joan of Arc book:
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