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On 16 November 1671, Liselotte von der Pfalz, the nineteen-year-old daughter of the Elector of Palatine, was married to Philippe d'Orleans, "Monsieur, " the only brother of Louis XIV. The marriage was not to be a happy one. Liselotte (known in France as Elisabeth Charlotte, Duchesse d'Orleans, or "Madame") was full of intellectual energy and moral rigor. Homesick for her native Germany, she felt temperamentally ill-suited to life at the French court. The homosexual Monsieur, deeply immersed in the pleasures and intrigues of the court, shared few of his wife's interests. Yet, for the next fifty years, Liselotte remained in France, never far from the center of one of the most glorious courts of Europe. And throughout this period, she wrote letters - sometimes as many as forty a week - to her friends and relatives in Germany. It is from this extraordinary body of correspondence that A Woman's Life in the Court of the Sun King has been fashioned. As introduced and translated by Elborg Forster, the letters have become the remarkable personal narrative of Liselotte's transformation from an innocent, yet outspoken, girl into a formidable observer of great events and human folly.
Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
The authors, Danielle Kisluk-Grosheide and Jeffrey Munger, are curators in the Metropolitan Museum's Department of European Sculpture and Decorative Arts. They oversaw the recent reinstallation of the Wrightsman Galleries --Book Jacket.
Designed to provide English readers of German literature the opportunity to familiarize themselves with both the established canon and newly emerging literatures that reflect the concerns of women and ethnic minorities, the Encyclopedia of German Literature includes more than 500 entries on writers, individual work, and topics essential to an understanding of this rich literary tradition. Drawing on the expertise of an international group of experts, the essays in the encyclopedia reflect developments of the latest scholarship in German literature, culture, and history and society. In addition to the essays, author entries include biographies and works lists; and works entries provide information about first editions, selected critical editions, and English-language translations. All entries conclude with a list of further readings.
The superb historian and biographer Antonia Fraser, author of Marie Antoinette, casts new light on the splendor and the scandals of the reign of Louis XIV in this dramatic, illuminating look at the women in his life. The self-proclaimed Sun King, Louis XIV ruled over the most glorious and extravagant court in seventeenth-century Europe. Now, Antonia Fraser goes behind the well-known tales of Louis’s accomplishments and follies, exploring in riveting detail his intimate relationships with women. The king’s mother, Anne of Austria, had been in a childless marriage for twenty-two years before she gave birth to Louis XIV. A devout Catholic, she instilled in her son a strong sense of piety and fought successfully for his right to absolute power. In 1660, Louis married his first cousin, Marie-Thérèse, in a political arrangement. While unfailingly kind to the official Queen of Versailles, Louis sought others to satisfy his romantic and sexual desires. After a flirtation with his sister-in-law, his first important mistress was Louise de La Vallière, who bore him several children before being replaced by the tempestuous and brilliant Athénaïs, marquise de Montespan. Later, when Athénaïs’s reputation was tarnished, the King continued to support her publicly as Athénaïs left court for a life of repentance. Meanwhile her children’s governess, the intelligent and seemingly puritanical Françoise de Maintenon, had already won the King’s affections; in a relationship in complete contrast to his physical obsession with Athénaïs, Louis XIV lived happily with Madame de Maintenon for the rest of his life, very probably marrying her in secret. When his grandson’s child bride, the enchanting Adelaide of Savoy, came to Versaille she lightened the King’s last years – until tragedy struck. With consummate skill, Antonia Fraser weaves insights into the nature of women’s religious lives – as well as such practical matters as contraception – into her magnificent, sweeping portrait of the king, his court, and his ladies.
Mary, Elizabeth and Henrietta Anne, the daughters of King Charles I and his queen, Henrietta Maria, would be brought up against the background of the English Civil War. Mary would marry William, Prince of Orange, and be sent to live in the Netherlands. Elizabeth would remain in England under Parliamentary control. Henrietta Anne would escape to France and be the darling of the French Court. Yet none of the Stuart princesses would live to reach thirty. The Tragic Daughters of Charles I is their story. Chronos Books presents the latest in a series of historical royal biographies by Sarah-Beth Watkins, author of Lady Katherine Knollys: The Unacknowledged Daughter of King Henry VIII
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