Cornelis Dusart (1660 - 1704)
THE HEROES OF THE LEAGUE
THE HEROES OF THE LEAGUE
"The Heroes of the League" -1691- "or the monastic procession led by Louis XIV for the conversion of Protestants in his kingdom." That is the title of the series of prints of Dusart/Gole consisting of 24 monks, ministers and courtesans of the "great king", who were most hated by the Calvinists.
"The Heroes of the League" -1691- "or the monastic procession led by Louis XIV for the conversion of Protestants in his kingdom." That is the title of the series of prints of Dusart/Gole consisting of 24 monks, ministers and courtesans of the "great king", who were most hated by the Calvinists.
We see some "heroes" with a devilish grin on their lips and voluptuous prying eye bags and with boils and carbuncles strewn faces.Some figures are familiar to us as Louvois, the foreign minister of Louis XIV, and Father Petre (= Edward Petre) (here spelt as Petres).
We see some "heroes" with a devilish grin on their lips and voluptuous prying eye bags and with boils and carbuncles strewn faces.Some figures are familiar to us as Louvois, the foreign minister of Louis XIV, and Father Petre (= Edward Petre) (here spelt as Petres).
In France they call this grotesque distortion "charge," and a real charged caricature must be based on a resemblance to the real person. The extent to which Dusarts' charges are based on fantasy or on actual portraits is an unresolved question. Some historians see in these pictures the first portrait charges in history and see Dusart as a precursor of Daumier.
In France they call this grotesque distortion "charge," and a real charged caricature must be based on a resemblance to the real person. The extent to which Dusarts' charges are based on fantasy or on actual portraits is an unresolved question. Some historians see in these pictures the first portrait charges in history and see Dusart as a precursor of Daumier.
Dusart: The Sun King
The Revocation of the Edict of Nantes
The Revocation of the Edict of Nantes
The motive for the prints of Dusart, however, was the Revocation of the Edict of Nantes in 1685 by Louis XIV, causing Huguenots to lose their freedom of religion and forcing them to convert or emigrate. By special dragoons, the Protestants were forced under the threat of violence to renounce their faith.
The motive for the prints of Dusart, however, was the Revocation of the Edict of Nantes in 1685 by Louis XIV, causing Huguenots to lose their freedom of religion and forcing them to convert or emigrate. By special dragoons, the Protestants were forced under the threat of violence to renounce their faith.
How intense was at that time the hatred of the Protestant Dutchmen against the power that had oppressed, persecuted and killed their fathers.
How intense was at that time the hatred of the Protestant Dutchmen against the power that had oppressed, persecuted and killed their fathers.
It is true that Dusart didn't attack the simple priests and faithful, but the monks and spiritual advisers of the "most-Christian" King and the bishops who allowed themselves to be bribed by Louis XIV as Guillaume de Furstenberg. They are depicted as the disgusting representatives of malice, cruelty and impudence.
It is true that Dusart didn't attack the simple priests and faithful, but the monks and spiritual advisers of the "most-Christian" King and the bishops who allowed themselves to be bribed by Louis XIV as Guillaume de Furstenberg. They are depicted as the disgusting representatives of malice, cruelty and impudence.
The designs of Dusart were performed in mezzotint also called "black art" or "scrap-art". This is a technique to work from black to white and with all kinds of tones in between. The copper plate is made dark and in different ways "scraped". This will result in strong pictorial effects that create a mysterious atmosphere.
The designs of Dusart were performed in mezzotint also called "black art" or "scrap-art". This is a technique to work from black to white and with all kinds of tones in between. The copper plate is made dark and in different ways "scraped". This will result in strong pictorial effects that create a mysterious atmosphere.
Dusart worked together with Jacob Gole, who had specialized in mezzotint. The final result is strongly influenced by this method. Still, we can get a good impression of the original (painted) designs of Dusart because some of his designs in colour are preserved, as his flute player and the following print.
Dusart worked together with Jacob Gole, who had specialized in mezzotint. The final result is strongly influenced by this method. Still, we can get a good impression of the original (painted) designs of Dusart because some of his designs in colour are preserved, as his flute player and the following print.
Even Madame de Maintenon has a brutal monks mask, leaving nothing of the woman, she ends her soliloquy with ".... et si j'ay reussi c'est par ma seule intrigue."
Even Madame de Maintenon has a brutal monks mask, leaving nothing of the woman, she ends her soliloquy with ".... et si j'ay reussi c'est par ma seule intrigue."
This mask certainly bears no resemblance to the living person. Madame Marquise de Maintenon was titled by Louis XIV in 1674. Francoise d'Aubigné, Veuve du Pierre Scarron pulled, after her appointment as governess to the children of Louis XIV with his mistress Madame de Montespan, the King's attention.
This mask certainly bears no resemblance to the living person. Madame Marquise de Maintenon was titled by Louis XIV in 1674. Francoise d'Aubigné, Veuve du Pierre Scarron pulled, after her appointment as governess to the children of Louis XIV with his mistress Madame de Montespan, the King's attention.
Six months after the death of Maria Theresa in 1683, Louis married in secret with her. She continued her classes at St. Cyr and tried to deepen the superficial Christianity of the King. It is certain that she has agreed to Louis's "translation" of this faith in the form of the Revocation of the Edict of Nantes in 1685.
Six months after the death of Maria Theresa in 1683, Louis married in secret with her. She continued her classes at St. Cyr and tried to deepen the superficial Christianity of the King. It is certain that she has agreed to Louis's "translation" of this faith in the form of the Revocation of the Edict of Nantes in 1685.
Although the Holy League prints make an anachronistic impression, there appeared still an edition of this work in 1740.
Although the Holy League prints make an anachronistic impression, there appeared still an edition of this work in 1740.