These rooms originally constituted the southern ground-floor apartment, and were arranged in the same sequence as those of the three other main apartments. Since green was the dominant colour of the room textiles, it was known as the Green Apartment.
Allegory of Elector Max Emanuel being reunited with his family,
Joseph Vivien (Room 41)
Most of the 17th- and 18th-century French paintings shown here have a close connection with the patron of the palace, Elector Max Emanuel of Bavaria. They begin with the group of portraits by the French court painter Joseph Vivien: a huge historical picture shows the elector being reunited with his family in 1715, and the family of the Dauphin of France, the brother-in-law of Max Emanuel (Room 41), is portrayed in a series of pastels.
The following two rooms contain battle scenes. The cycle by Adam Frans van der Meulen depicts the campaigns of Louis XIV against the Spanish Netherlands and Holland, setting them in representative landscapes (Room 42). In sharp contrast with these is the series by Pierre-Denis Martin, commissioned by the officer Philipp Dupont to celebrate the deeds of the Polish king Jan Sobieski in the Turkish Wars, which reproduce the precise order of battle.
Room 44 contains three works with religious themes by Nicolas Poussin, landscapes by his nephew Gaspar Dughet and "The concert" by Jean LeClerc. In the Blue Cabinet are early portraits by Antoine Pesne, including a portrait of the brilliant French court painter Nicolas de Largillière. They are complemented by two still lifes by François Desportes.
© Text and picture State Gallery: Bayerische Staatsgemäldesammlungen, Munich
| top |