Who painted Henri IV and Maria de Medici [top half]?

Henri IV and Maria de Medici [top half] was painted by Simon van de Passe in 1621.

Where can I see Henri IV and Maria de Medici [top half]?

Henri IV and Maria de Medici [top half] is held by National Gallery of Art.

What movement is Henri IV and Maria de Medici [top half]?

Henri IV and Maria de Medici [top half] is associated with Renaissance.

Artwork

Henri IV and Maria de Medici [top half]

Simon van de Passe , 1621

Henri IV and Maria de Medici [top half] is an ink print by the Renaissance artist Simon van de Passe. It dates from 1621 and is held in the collection of the National Gallery of Art.

About this work

Overview

Simon van de Passe’s 1621 print, titled Henri IV and Maria de Medici, reproduces the upper half of a silver medal he originally engraved. Rendered in black‑and‑white, the image centers on a bearded Henri IV in an elaborate robe, his gaze directed outward while he holds a scroll. The composition is framed by a dark oval bearing the Latin inscriptions of the king’s and queen’s names.

Subject & Meaning

The portrait presents Henri IV, the French monarch, alongside a reference to his consort, Maria de’ Medici, underscoring their dynastic alliance. The scroll suggests authority or a decree, while the surrounding miniature symbols—crown, shield and other heraldic motifs—reinforce royal legitimacy and the political stature of the couple.

Technique & Style

Van de Passe employed fine, intersecting lines to model the heavy fabric of the robe and the dense curls of the king’s hair, achieving a subtle gradation of tone. The engraving, transferred from a silver medal, captures the crisp detail typical of early‑17th‑century medallic portraiture, with a restrained background that focuses attention on the central figure.

History & Provenance

Created in 1621, the print was part of a broader circulation of portrait medals that commemorated royal figures. As a reproduction of van de Passe’s own medal, it served both as a collectible image and as a means of disseminating the royal likeness beyond the limited reach of the original metal work.

Context

The early 1600s saw a surge in portrait medals as political propaganda, especially in France, where Henri IV’s reign was celebrated for consolidating royal power. Van de Passe, a prominent engraver of the Dutch school, contributed to this trend by translating the three‑dimensional medal into a two‑dimensional print, making the image more accessible.

Legacy

While the original silver medal remains a rare artifact, van de Passe’s engraving continues to provide scholars with insight into the visual language of royal representation in the early modern period, illustrating how print media extended the reach of courtly imagery.