Ruby, Sigrid

Sigrid Ruby

Mit Macht verbunden: Bilder der Favoritin im Frankreich der Renaissance

The mistresses of the French kings are decisive elements in common notions of living at Early Modern courts – a magnificent life full of glamour, affairs and intrigues, animated by beautiful women, who had lots of power and influence. This art historical study seeks to critically review and specify such popular assumptions. By exploring artifacts in diverse media (visual arts, architecture, poetry), which in the time of the French Renaissance were made either for or on the occasion of the royal favorite, she becomes vivid as a particularly multifarious figure of Early Modern court life.

Two female figures in French history are particularly focused upon here: Anne de Pisseleu (1508-1580?) and Diane de Poitiers (1500-1566). The images, residences und texts devised for both of them evoke the complex roles they were assigned at the courts of the Valois-kings Francis I and Henri II respectively. Their persona – generated by diverse media and developed in competition with the ones of powerful male favorites – cannot be considered role models for those royal mistresses that later, during the reign of Louis XIV and in the age of Absolutism, became regular members of the king’s court. Instead, they should be looked upon as historically highly specific prospects for female power that made use of the arts and their specific potential as agency.

Lisa Beißwanger (Ed.), Alexandra Karentzos (Ed.), Christiane Salge (Ed.)

Zwischen Enklave und Vernetzung: Kunstgeschichte an der TU Darmstadt

Art history at the Technical University of Darmstadt looks back on a 150-year history. This anniversary was the starting point for a research project and a symposium, the results of which are presented in this volume.

A special feature of art history in Darmstadt is, that it is not located at one institute, but is represented by two professorships in the departments of architecture and humanities. This volume puts this unusual constellation into historical perspective and argues that it is precisely the status as an art historical “enclave” that has led to intensive networking.