#jean-baptiste colbert

[lindahall]

Jean-Baptiste Colbert – Scientist of the Day

Jean-Baptist Colbert. a French politician and financial advisor to the King, was born Aug. 29, 1619. 

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[captainsamta]

A series of mini portraits

[histoireettralala]

Ministerial tactics

It should be noted that Richelieu did not launch a general attack upon the great nobles of France or attempt to undermine the importance of provincial governorships. Neither did he launch a general attack upon great noble clienteles or attempt to destroy them. As Georges Pagès has remarked, "Richelieu did not destroy clienteles; he himself had a client network which grew larger and more obedient until the end of his life, and was used against his enemies. But in obliging the grands to obey, he put their clienteles in the service of the king." Richelieu did not have the resources to destroy the clienteles of the great nobles of France, and the disruptive repercussions of such an assault might have boomeranged back upon his own clientele, which he needed in governing. Richelieu and his successors, Mazarin and Colbert, used administrative clienteles and the brokerage of royal patronage in the provinces to strengthen royal control over provincial power structures and to counter the influence of unreliable governors. The royal ministers did not attempt to destroy the great nobles and their clienteles, which would have been difficult to do, anyway. They encircled, undermined, and co-opted them using the lure of royal patronage to achieve the same effect. Co-optation through patronage is a classic method of forestalling dissent, weakening resistance, and securing cooperation. The tactic of using brokers and brokerage leads us to reassess how the early modern state was created, how it functioned, and how it secured its power. The Bourbon monarchy had a broader base of support among the nobility than we have realized.

Sharon Kettering - Patrons, Brokers and Clients in Seventeenth Century France

[retrogeographie]

Reims, le lycée Jean-Baptiste Colbert

[chaotic-history]

Colbert !!

[racefortheironthrone]

I couldn't have guessed what economists' opinion of mercantilism was. But is it fair to say that Colbert's application of mercantilism was heavily dependent on colonization ? Whenever I hear about it, it feels like the raw materials needed for his general added-value schemes all came from colonies.

I think that is a fair critique of European economic development more generally (see Cedric Robinson), but it's a hard one to apply to the mercantilism vs. capitalism argument because it's one that applies equally to both sides. Both mercantilists and capitalists were absolutely complicit in colonialism (and slavery and the slave trade, and any other form of exploitation you'd care to mention).

As to how much of a role colonialism played, that can be a bit tricky, because for political/rhetorical reasons there is a tendency in modern scholarship to either argue that colonialism played no or almost no role in economic development, or that it was the sole or driving factor behind it, and I think there's something of an undistributed middle going on.

So to take Colbert as an example, I think it's certainly valid to say that colonies like Saint-Domingue played a major role in providing France with profitable exports. On the other hand, a lot of his mercantalist policies when it came to taxation, public works, or manufacturing were oriented much more towards the European market and involved domestic raw materials.

[incorrectlooneytunesquotes]

The art of taxation consists in so pwucking the duck as to obtain the wargest possible amount of feathers with the smawwest amount of hissing.

Elmer Fudd to Plucky Duck

[napoleonic-sexyman-tournament]

Friends, enemies, comrades, Jacobins, Monarchist, Bonapartists, gather round. We have an important announcement:

The continent is beset with war. A tenacious general from Corsica has ignited conflict from Madrid to Moscow and made ancient dynasties tremble. Depending on your particular political leanings, this is either the triumph of a great man out of the chaos of The Terror, a betrayal of the values of the French Revolution, or the rule of the greatest upstart tyrant since Caesar.

But, our grand tournament is here to ask the most important question: Now that the flower of European nobility is arrayed on the battlefield in the sexiest uniforms that European history has yet produced (or indeed, may ever produce), who is the most fuckable?

The bracket is here: full bracket and just quadrant I

Want to nominate someone from the Western Hemisphere who was involved in the ever so sexy dismantling of the Spanish empire? (or the Portuguese or French American colonies as well) You can do it here

The People have created this list of nominees:

France:

Jean Lannes

Josephine de Beauharnais

Thérésa Tallien

Jean-Andoche Junot

Joseph Fouché

Charles Maurice de Talleyrand

Joachim Murat

Michel Ney

Jean-Baptiste Bernadotte (Charles XIV of Sweden)

Louis-Francois Lejeune

Pierre Jacques Étienne Cambrinne

Napoleon I

Marshal Louis-Gabriel Suchet

Jacques de Trobriand

Jean de dieu soult.

François-Étienne-Christophe Kellermann

17.Louis Davout

Pauline Bonaparte, Duchess of Guastalla

Eugène de Beauharnais

Jean-Baptiste Bessières

Antoine-Jean Gros

Jérôme Bonaparte

Andrea Masséna

Antoine Charles Louis de Lasalle

Germaine de Staël

Thomas-Alexandre Dumas

René de Traviere (The Purple Mask)

Claude Victor Perrin

Laurent de Gouvion Saint-Cyr

François Joseph Lefebvre

Major Andre Cotard (Hornblower Series)

Edouard Mortier

Hippolyte Charles

Nicolas Charles Oudinot

Emmanuel de Grouchy

Pierre-Charles Villeneuve

Géraud Duroc

Georges Pontmercy (Les Mis)

Auguste Frédéric Louis Viesse de Marmont

Juliette Récamier

Bon-Adrien Jeannot de Moncey

Louis-Alexandre Berthier

Étienne Jacques-Joseph-Alexandre Macdonald

Jean-Mathieu-Philibert Sérurier

Catherine Dominique de Pérignon

Guillaume Marie-Anne Brune

Jean-Baptiste Jourdan

Charles-Pierre Augereau

Auguste François-Marie de Colbert-Chabanais

England:

Richard Sharpe (The Sharpe Series)

Tom Pullings (Master and Commander)

Arthur Wellesley, 1st Duke of Wellington

Jonathan Strange (Jonathan Strange & Mr. Norrell)

Captain Jack Aubrey (Aubrey/Maturin books)

Horatio Hornblower (the Hornblower Books)

William Laurence (The Temeraire Series)

Henry Paget, 1st Marquess of Anglesey

Beau Brummell

Emma, Lady Hamilton

Benjamin Bathurst

Horatio Nelson

Admiral Edward Pellew

Sir Philip Bowes Vere Broke

Sidney Smith

Percy Smythe, 6th Viscount Strangford

George IV

Capt. Anthony Trumbull (The Pride and the Passion)

Barbara Childe (An Infamous Army)

Doctor Maturin (Aubrey/Maturin books)

William Pitt the Younger

Robert Stewart, 2nd Marquess of Londonderry (Lord Castlereagh)

George Canning

Scotland:

Thomas Cochrane

Colquhoun Grant

Ireland:

Arthur O'Connor

Thomas Russell

Robert Emmet

Austria:

Klemens von Metternich

Friedrich Bianchi, Duke of Casalanza

Franz I/II

Archduke Karl

Marie Louise

Franz Grillparzer

Wilhelmine von Biron

Poland:

Wincenty Krasiński

Józef Antoni Poniatowski

Józef Zajączek

Maria Walewska

Władysław Franciszek Jabłonowski

Adam Jerzy Czartoryski

Antoni Amilkar Kosiński

Zofia Czartoryska-Zamoyska

Stanislaw Kurcyusz

Russia:

Alexander I Pavlovich

Alexander Andreevich Durov

Prince Andrei (War and Peace)

Pyotr Bagration

Mikhail Miloradovich

Levin August von Bennigsen

Pavel Stroganov

Empress Elizabeth Alexeievna

Karl Wilhelm von Toll

Dmitri Kuruta

Alexander Alexeevich Tuchkov

Barclay de Tolly

Fyodor Grigorevich Gogel

Ekaterina Pavlovna Bagration

Ippolit Kuragin (War and Peace)

Prussia:

Louise von Mecklenburg-Strelitz

Gebard von Blücher

Carl von Clausewitz

Frederick William III

Gerhard von Scharnhorst

Louis Ferdinand of Prussia

Friederike of Mecklenburg-Strelitz

Alexander von Humboldt

Dorothea von Biron

The Netherlands:

Ida St Elme

Wiliam, Prince of Orange

The Papal States:

Pius VII

Portugal:

João Severiano Maciel da Costa

Spain:

Juan Martín Díez

José de Palafox

Inês Bilbatua (Goya's Ghosts)

Haiti:

Alexandre Pétion

Sardinia:

Vittorio Emanuele I

Lombardy:

Alessandro Manzoni

Denmark:

Frederik VI

Sweden:

Gustav IV Adolph

[chasingrainbowsforever]

Red Morocco Binding With the Arms of Jean-Baptiste Colbert -- "Graduale Albiense", 1001-1100

[francepittoresque]

6 septembre 1683 : mort de Colbert ➽ http://bit.ly/Jean-Baptiste-Colbert Ministre et secrétaire d’État, contrôleur général des finances sous Louis XIV, Jean-Baptiste Colbert est issu d’une famille de riches marchands et banquiers, son père étant négociant ainsi que receveur général et payeur des rentes de la ville de Paris

[theo-avery]

This is such a stupid plot idea 😩.

First, those 3 people were trusted ministers of Louis XIV, they were called "Louis' creatures". Most of them had been around since Louis was a child/teen, chosen by Mazarin. They kept the kingdom working after the Fronde and during Louis' glory years. After the whole debacle with Fouquet, the ex-minister of finances, they only became even more loyal and careful of Louis' moods.

What more power could they ever achieve considering their stations?? They had some of the higher posts available to commoners. They managed to put their family into positions of power. They got rich. That's it. The idea that commoners could compete with the king (with Louis XIV "L'état c'est moi") for power is so laughable it's making me cry.

And choosing to make Jean-Baptiste aka Jean-Baptiste Colbert black was such a tone deaf thing. Sure, lets make the man that was responsible for colonial development, that created the French East India and West India companies black. Brilliant idea.

[arte-e-homoerotismo]

Aniello Falcone (1607-1656)- Atletas romanos, c.1640.

Após uma breve formação na oficina napolitana de José de Ribera onde foi apresentado à arte de Caravaggio, Falcone desenvolveu um estilo pessoal cujo naturalismo se baseia numa importante prática do desenho. Embora a sua estadia em Roma não seja atestada, esteve certamente ligada por um lado às obras do período romano (1629-30) de Velàsquez, e por outro lado aos pintores romanos de bambochades (os Bamboccianti), e ocupou em Nápoles uma posição semelhante à de Pieter van Laer, desenvolvendo os seus dons excepcionais de naturalista e observador atento da realidade no clima de um caravagismo "menor". Participou também, com Viviano Falcone e Domenico Gargiulo, na criação de uma série de quatro grandes telas representando cenas da Roma Antiga para o Palácio do Bom Retiro, em Madrid. Um deles retrata lutas de gladiadores no Coliseu. Embora também tenha produzido composições religiosas, Aniello Falcone é mais conhecido pelas suas cenas de batalha, pintadas para grandes colecionadores napolitanos como Gaspar Roomer (bons exemplares no Louvre, no museu Capodimonte em Nápoles e no Nationalmuseum em Estocolmo) e das quais fez o seu especialidade, tornando-o o precursor, em Nápoles, neste gênero, dos pintores Micco Spadaro e Salvator Rosa. Os seus contemporâneos consideravam-no o “oráculo” deste género artístico, para o qual criou o diagrama da “batalha sem heróis”), onde a violência das lutas é traduzida por um toque ao mesmo tempo expressivo e preciso. A partir de 1640, as suas composições religiosas, nomeadamente para as igrejas de San Paolo Maggiore e Gesù Nuovo em Nápoles, demonstram cada vez mais claramente uma consciência das tendências luminosas e ordenadas do classicismo romano-bolonês. Carlo Coppola e Salvator Rosa foram seus alunos como Micco Spadaro, em sua oficina napolitana, entre as tendências grega, latina e espanhola, e fizeram parte da "Compagnia della Morte", criada pelo próprio Aniello para vingar a morte de um amigo, com o objetivo utópico de matar todos os espanhóis. Masaniello também fez parte desta empresa. Quando o Reino de Nápoles, após apenas dois anos de revolução, regressou ao domínio espanhol, a Compagnia della Morte foi dissolvida e Aniello Falcone desapareceu, a sua oficina substituída em favor da de Luca Giordano. Falcone, com Salvator Rosa, foi para Roma. Um francês encorajou-o a ir para França, onde Luís XIV se tornou um dos seus patronos. Por fim, Jean-Baptiste Colbert aceitou o pedido do pintor para regressar a Nápoles, onde morreu durante a peste de 1656.

[histoireettralala]

The real Mazarin ?

It was Mazarin’s misfortune, and the single factor most shaping the events and outcome of 1652, that he confronted the figure of Condé as his opponent, who embodied simultaneously the unchallenged right of a prince of the blood to participate in government, and the military genius responsible for the great successes of France after 1643. Had the young Condé been a mediocre military commander like his father, the political dynamic would have looked very different. The military paladins of the regency would have been Turenne and Henri, comte d’Harcourt, from a cadet line of the House of Guise. Both were capable military commanders, but political minnows in comparison with Condé. Mazarin could have bought the adherence of both with territories and titles, and in all probability neither would have made a serious attempt to assert themselves against the queen mother and her minister. Instead Mazarin faced someone for whom no political or territorial bribe would be sufficient, except the concession of powers that would effectively deny overall political control to Mazarin.

Yet it was also Condé’s misfortune —and that of France— that he encountered the real Mazarin, rather than the self-sacrificing servant of monarchy and state celebrated in hagiographic accounts of his ministry from the nineteenth century onwards. The Mazarin who had discreetly demonstrated his diplomatic and administrative abilities to Richelieu in the 1630s, and insinuated himself into the team of Richelieu’s ministerial fidèles, did not intend to spend his career as a lowkey political figure operating behind the scenes. His accumulation of rich benefices before 1640, and his ability to persuade Richelieu —who was normally intensely hierarchical in such matters— to nominate him for a cardinalship, might indicate a different agenda. Another hint may have been his cultivation of Anne of Austria at a time when most of Richelieu’s ministers regarded the queen as politically toxic. Whatever Mazarin’s real ambitions before 1643, he had prudently confined his role to that of faithful subordinate of Richelieu and then part of Louis XIII’s ministerial team during the king’s last months. But with the death of Louis XIII, the assumption of control by the queen regent, and Mazarin’s achievement of the status of unchallenged minister-favourite, the restraint which had previously characterized his personality and actions was thrown off.

To understand Mazarin and his motivation, it is necessary to abandon a superficially plausible notion that he saw himself as an outsider, a foreigner relying on cleverness and charm to climb the ladder of power and status in France. On this reading he was inhibited by his second-rank Italian background, in awe of, and not properly understanding, French grandees such as Condé, Longueville, or Vendôme. And indeed to Condé, Mazarin always remained the upstart ‘gredin de Sicile’, or the ‘illustrissimo signor facchino’, constantly seeking a political role far above his social status. Mazarin seemed in some respects to confirm this view of himself as upstart and outsider: he combined the ingratiating qualities of a favourite —using his foreignness to cement the complicit relationship with that other ‘foreigner’ at court, Anne of Austria— with an understanding of diplomacy and Realpolitik honed from his early career in Rome. Moreover, apart from the queen mother’s favour, Mazarin’s primary qualification for the role of first minister was his distinctly un-aristocratic administrative energy and capacity. The recognition customarily given to Jean-Baptiste Colbert as Louis XIV’s omniscient administrator, with his extraordinarily detailed grasp of every aspect of his government portfolio and a capacity to maintain a mountainous correspondence, may be seen as a tribute to the even more impressive working habits of his previous employer. To find someone who could equal Mazarin’s mastery of detail, his ability to range over domestic and foreign policy —whether supply of the galleys at Toulon or factional politics in Brittany— all with the same detailed knowledge and the ability to resume a subject months or years after he last discussed it, we would need to turn to Napoléon Bonaparte. Certainly Mazarin’s grasp of affairs and work-rate surpassed cardinal Richelieu, no laggard in his capacity for administrative graft. But Richelieu acknowledged his lack of knowledge in key areas, and delegated with far greater willingness than his successor. Indeed, a besetting weakness of Mazarin’s entire ministry, and a cause of much tension with his subordinate ministers, was his obsessive reluctance to delegate even practical executive authority to others.

Yet while this prodigious ability, which is certainly greater than that of any of his likely rivals in the years after 1643, is clearly relevant in explaining Mazarin’s success as a minister, it nonetheless misses the key point. Mazarin did not see himself as a backroom facilitator of effective government, aware that his foreign background and modest social status required discretion and reticence. On the contrary, he regarded himself as the primary architect of the greatness of the French monarchy. In passage after self-promotional passage in his correspondence, Mazarin celebrated the first six years of the Regency as the most glorious years in the history of the monarchy—a succession of military victories and diplomatic triumphs that had realized the great project to ensure France’s prestige and hegemony in Europe. It might come as a surprise to those who envisage

Mazarin as a créature and disciple of cardinal Richelieu that in Mazarin’s opinion the six years from 1643 far surpassed any comparable period in Richelieu’s ministry. And it was on what he regarded as his incomparable personal achievement that Mazarin’s deep sense of public and private entitlement rested: the monarchy and the kingdom owed him much, in terms of both gratitude and recognition, and a continued monopoly of power and influence.

If the great French families initially looked down on Mazarin, he certainly did not regard himself as their inferior; his apparently ingratiating and obliging language masked a ruthless sense of self-importance and his primacy within the state. He believed himself to be indispensable, and his language to the queen mother, to his supporters, and even to his enemies reflects that conviction. Both past achievements and promises of benefits and advantages to come created obligations, especially on the part of the crown, and from those ministers and other appointees who owed their positions and prestige to Mazarin’s success. Perhaps this conviction that his deeds could speak louder than words partly explains Mazarin’s reluctance to enter the ideological battle after 1648. It certainly underpins the poorly improvised attempts to justify the arrest of the princes in January 1650: in Mazarin’s eyes such high-handed actions were an element of his understanding of ragione di stato, necessary to preserve a superior direction of the affairs of state. This of course played to a massive literature of criticism in the mazarinades, for whom Mazarin’s policies were inspired by the tyrannical maxims of his fellow Italian, Machiavelli.

There is little doubt that well before 1650 the figures of Condé and Mazarin were set on a political collision course which would have required exceptional restraint on one or both sides to avoid. The fundamental difference, however, was that Condé could probably live with the political survival of Mazarin, whose role had been cut back to that of essentially executive first minister, accountable to a royal family dominated by Condé. In contrast, by late 1649 Mazarin’s assumptions about his own position were wholly incompatible with the political power and influence of Condé. Mazarin might be forced into political cohabitation with the prince, but it would delegitimize and disempower his ministerial position and all those associated with him.

David Parrott- 1652- The Cardinal, the Prince, and the Crisis of the Fronde.

[haitilegends]

Haïti Legends ''Rétroviseur''

(1975) Coupé Cloué et L' Ensemble Sélect.

Gesner Henry ''Coupé Cloué'': Maestro/Chant

Edner Saintine ''Ti Blanc'': Chant

Bellerive Dorcelian: Guitare (Solo)

Pierre-Rigal jean-Baptiste: Guitare (solo)

Moïse Jean: Guitare (Acc)

Proper Saint-Louis: Basse

Ernst Louis'' Ti Nès'': Batterie

Colbert Désir: Congas

René Pétion: Bongo

#HaitiLegends

#Rétroviseur

#CoupeCloue

#EnsembleSelect

#HugoValcin

#Photos #Vintage

[chaotic-history]

how about top 5.. frenchmen? >:D

Hmmm

Voltaire (Zozo gets first place again ofc ✨)

Villette

Camus

D'Alembert

Jean Baptiste Colbert

[the-paintrist]

Claude Lefèbvre - Self-portrait - ca. 1683

Claude Lefèbvre (12 September 1632 (baptised) - 25 April 1675) was a French painter and engraver.

Lefèbvre was born at Fontainebleau, the son of the painter Jean Lefèbvre (1600–1675), and became a member of the workshop of Claude d'Hoey (1585–1660) at Fontainebleau. In 1654 he studied with Eustache Le Sueur in Paris, and after Le Sueur's death in 1655, with Charles Le Brun. Under Le Brun he probably assisted in the preparation of cartoons (untraced) for the tapestry series History of the King (Château of Versailles) and painted a Nativity (untraced) for Louis XIV, but Le Brun found Lefèbvre's compositions poor and encouraged him to specialize in portraiture.

Lefèbvre soon established himself as a leading portrait artist, and in 1663, at the age of thirty, he was received (reçu) as a member of the Académie Royale de peinture et de sculpture in anticipation of his portrait of Jean-Baptiste Colbert (Château of Versailles). Lefèbvre spent several years creating the portrait and finally presented it on 30 October 1666. He was an assistant professor at the Académie beginning in 1664. Among his students were François de Troy and Jean Cotelle, le jeune.

Lefebvre visited England, where he appears to have been influenced by the work of Anthony van Dyck. In London he was invited to paint at the court of King Charles II of England. His work is included in major collections such as the National Portrait Gallery, London, and the Louvre.

At the peak of his career, at the Salon of 1673, he presented ten pictures, of which nine were portraits. Few of Lefèbvre's paintings have survived, and many are known only from engravings by artists such as Gérard Edelinck, Nicolas de Poilly and Pieter van Schuppen. Based on the evidence from engravings, several paintings have been attributed to Lefèbvre, including the portrait of Charles Couperin with the Artist's Daughter (Château of Versailles).

Lefèbvre was also an engraver. His engravings include a Self-portrait and a portrait of Alexandre Boudan.

Claude Lefèbvre died in Paris. He is sometimes confused with Rolland Lefèbvre, a portrait painter who died in London in 1677.