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Marie de' Medici cycle
The Marie de' Medici Cycle is a series of twenty-four paintings by Peter Paul Rubens commissioned by Marie de' Medici, wife of Henry IV of France, for the Luxembourg Palace in Paris. Rubens received the commission in the autumn of 1621. After negotiating the terms of the contract in early 1622, the project was to be completed within two years, coinciding with the marriage of Marie's daughter, Henrietta Maria. Twenty-one of the paintings depict Marie's own struggles and triumphs in life. The remaining three are portraits of herself and her parents.〔 The paintings now hang in the Louvre in Paris.
==Commission==
Much speculation exists on the exact circumstances under which Marie de' Medici decided to commission Rubens to paint "such a grandiose project, conceived in truly heroic proportions".〔Saward, p. 2.〕 John Coolidge suggests the cycle may have even been commissioned to rival another famous series of Rubens, ''The Constantine Tapestries'', which he designed in his studio at the same time as the first several paintings of the Medici Cycle.〔Saward, pp. 1-3.〕 It has also been suggested that Rubens prepared a number of oil sketches, by the request of Louis XIII, the son of Marie de’ Medici and successor to the throne, which may have influenced the Queen's decision to commission Rubens for the cycle by the end of the year 1621.〔 The immortalizing of her life, however, seems to be the most apparent reason for the Queen's choice to commission a painter who was capable of executing such a demanding task. Peter Paul Rubens had already established himself as an exceptional painter and also had the advantage of sustaining close ties with several important people of the time, including Marie de' Medici's sister, the wife of one of Rubens's first important patrons, the Duke of Gonzaga. The information about the commission in the contract Rubens signed is far from detailed and focuses mainly on the number of pictures in the cycle dedicated to the Queen's life, and is far less specific when it comes to the cycle praising her husband Henry IV.〔Saward, pp. 1-2.〕 The contract stated that Rubens was to paint all the figures, which presumably allowed him to employ assistants for backgrounds and details.〔Belkin, p. 176〕
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