Charles Le Brun Battles of Alexander: Louvre Masterpieces Guide

Okay, let's talk about Charles Le Brun and his gigantic Battles of Alexander paintings. Seriously, if you've ever stood in front of one at the Louvre, you know they're massive. Like, overwhelming massive. King Louis XIV absolutely loved them – no surprise there, given how Le Brun basically made Alexander look like the ultimate Sun King prototype. Funny how that works, right? These aren't just fancy decorations; they're power plays on canvas, propaganda dreamed up for Versailles.

I remember my first time seeing The Battle of the Granicus. It was a Tuesday morning, way before the crowds hit. The sheer scale hits you first. Then you start noticing the chaos – horses rearing, soldiers clashing, water churning. It’s noisy even though it’s silent. And right there, smack in the middle, Alexander gleams like a golden god. You almost forget it’s depicting a brutal, muddy fight. Le Brun was a master of making carnage look majestic. Honestly? Sometimes it feels a bit *too* perfect, like Alexander never broke a sweat. Real battles are messier, dirtier. But hey, that’s 17th-century royal PR for you.

Why Le Brun Painted Alexander (Hint: It Wasn't Just About History)

Louis XIV didn't commission Charles Le Brun to paint the Battles of Alexander because he was a huge history buff obsessed with ancient Persia. Nope. This was pure political theater. Louis saw himself as the new Alexander, the absolute monarch destined for glory. Le Brun’s job was to hammer that point home visually. Every perfectly muscled horse, every submissive enemy, every ray of light illuminating Alexander was a coded message: "Louis = Alexander = Divine Right King." Pretty clever, actually. And expensive. These things cost a fortune.

The Full Set: Breaking Down All Five Battles of Alexander Paintings

Le Brun tackled five major episodes from Alexander the Great’s campaigns. Each one is a self-contained epic drama. Let's get into the specifics:

* Note: 'Arbela' is often used interchangeably with 'Issus', though they were distinct battles. Le Brun combined elements.

Looking at this table, you see the pattern, right? It's a carefully crafted narrative arc: Victory in Battle → Pursuit of the Enemy King → Triumphant Entry → Noble Mercy → Victory Over Monstrous Odds. It’s Alexander’s greatest hits, designed to make Louis look invincible. Personally, The Family of Darius is the most intriguing. It’s quieter, more psychological. You see Alexander being ‘magnanimous’, but there’s an undeniable power imbalance. Those terrified women? It feels less like pure mercy and more like a display of total dominance. Le Brun walks a fine line.

Where to See Charles Le Brun's Battles of Alexander Today (Practical Info!)

So, you want to see these giants yourself? Good luck finding them all together easily outside Paris. All five original paintings are proudly displayed in the Louvre Museum. They hang in the Richelieu Wing, 2nd Floor, Room 34 (formerly the Salle des Gardes de la Reine). This room is specifically designed for them.

Here’s the nitty-gritty you actually need to plan your visit:

Is visiting the Louvre just to see Le Brun's Battles of Alexander worth it? Absolutely, yes. They define French Baroque grandeur. But manage your expectations. The Louvre is HUGE and BUSY. Get there early, head straight to Richelieu. Give yourself at least 30-45 minutes just for these five paintings to absorb the scale and details. Don't try to rush them. That moment when you spot Alexander’s gleaming armor in each composition? Pure Le Brun magic. Though honestly, the lighting in the room sometimes makes the darker areas hard to see – wish they’d adjust that.

Beyond the Paintings: Le Brun's Process, Influence, and Legacy

Le Brun didn't just wake up one day and whip out these masterpieces. The creation of the Battles of Alexander series was a massive, years-long operation. Think of him as the CEO of a major art factory.

How Were Charles Le Brun The Battles of Alexander Created?

• Preparation: Le Brun was obsessive. He studied ancient texts (Plutarch, Arrian), existing art (Raphael's tapestries!), and consulted historians. He produced dozens of preparatory drawings – compositional sketches, figure studies (horses were a big focus), and detailed oil sketches (modelli). Many survive and are treasures themselves.
• Scale: We're talking enormous canvases. The Battle of the Granicus measures roughly 4.7m x 12.1m (over 15ft x 40ft!). Imagine stretching that canvas.
• The Workshop: Le Brun didn't paint every square inch alone. He ran a large, organized workshop. He would paint the key figures (especially Alexander and main protagonists) and crucial compositional elements. Assistants, specialized in landscapes, horses, armor, or crowds, filled in the rest under his strict direction. This was standard practice for large commissions.
• Tapestries: The paintings weren't just for the palace walls. Their most significant reproduction was as tapestries woven at the Gobelins Manufactory (which Le Brun directed!). Tapestries were more portable, prestigious gifts. Sets were woven multiple times.

His influence was seismic. For decades, Le Brun's style, codified in works like the Battles of Alexander, was THE official style of France. He dictated history painting. Artists wanting royal favor had to follow his rules on composition, expression, and subject matter. It was both brilliant and stifling. Later artists like David would eventually push back against this rigidity.

Charles Le Brun's Battles of Alexander: Frequently Asked Questions (Answered!)

Let's tackle those burning questions people search for about Charles Le Brun's Battles of Alexander:

Where exactly are the original Charles Le Brun Battles of Alexander paintings located?

All five original, massive oil paintings by Le Brun hang together in the Louvre Museum in Paris, France. Specifically, find them in the Richelieu Wing, 2nd Floor, Room 834 (often labeled as Room 34 or the Salle des Gardes de la Reine). They are a permanent fixture of the French 17th-century painting collection.

Can I see Charles Le Brun The Battles of Alexander series online in high resolution?

Yes! The Louvre's official website has a fantastic online collection database. Search for "Le Brun" and each painting's individual title. They usually offer high-resolution images where you can zoom in incredibly close to see brushstrokes and details you'd miss even standing in front of the physical work. It's an amazing research tool. Other sites like Google Arts & Culture also host images, but the Louvre's are the authoritative source.

Were the Battle of Alexander paintings used for tapestries? Why?

Absolutely, and tapestries were arguably *more* important to Louis XIV than the paintings themselves. The Gobelins Manufactory, directly overseen by Le Brun, produced numerous tapestry sets based on the Battles of Alexander designs. Tapestries were warmer, more prestigious diplomatic gifts, and could be moved between royal residences. They were the ultimate display of wealth and artistic power. Seeing both a painting and its tapestry counterpart (if you ever get the chance – some survive in museums like the Mobilier National in Paris) shows fascinating differences in texture and color.

How long did it take Charles Le Brun to complete the Battles of Alexander cycle?

The project spanned several years. Le Brun began the preparatory work around 1661. The first paintings were completed by the mid-1660s. The Battle of the Granicus was finished around 1665. The cycle wasn't fully complete and installed in Versailles until around 1673. So, roughly a decade from conception to final placement, though active painting on different canvases overlapped during that period. It's a testament to the sheer scale and logistical effort.

Why are Le Brun's depictions of Alexander sometimes criticized by historians?

Great question, and it gets to the heart of Le Brun's purpose. Critics often point out:

• Historical Accuracy: Le Brun prioritized drama and symbolism over strict historical fact. Scenes are compressed, compositions idealized, and details (like armor) often reflect 17th-century aesthetics more than ancient reality. Alexander is portrayed as an impossibly perfect, always-virtuous hero, glossing over his more brutal or complex actions.
• Propaganda: The overt flattery of Louis XIV can feel heavy-handed to modern viewers. The parallels drawn between Alexander and Louis are explicit and relentless, making the series feel less like objective history and more like a political tool.
• Formulaic Nature: While masterful, Le Brun established a very rigid formula for history painting that dominated French art for decades, arguably limiting artistic innovation until later generations rebelled. His focus on idealized heroism sometimes lacks psychological depth.

Personally, I find the propaganda angle fascinating – it’s so blatant it becomes a historical artifact itself – but I get why some historians eye-roll at Alexander’s relentlessly spotless tunic.

Beyond the Louvre: Where Else Can You Encounter Le Brun's Alexander?

While the Louvre holds the crown jewels, echoes of Charles Le Brun's Battles of Alexander are scattered around the art world:

• Versailles: This was their original home! They were painted for the Grand Apartments. Smaller versions or related sketches sometimes appear in exhibitions there.
• Tapestries: As mentioned, tapestry sets woven at the Gobelins exist. Look for them in textile collections like:
  • Mobilier National, Paris (France)
  • The Metropolitan Museum of Art, New York (USA)
  • Royal Collection Trust, UK (sometimes displayed in palaces like Hampton Court).
• Preparatory Drawings & Oil Sketches (Modelli): Museums worldwide hold these fascinating glimpses into Le Brun's process. Major collections include:
  • The Louvre (Cabinet des Dessins)
  • The British Museum, London
  • Musée des Beaux-Arts de Lyon
  • Nationalmuseum, Stockholm
  • The Getty Museum, Los Angeles
• Engravings: The compositions were widely disseminated through high-quality engravings. These are often found in print rooms of major museums or libraries. They helped spread Le Brun's fame and style across Europe.

Finding a tapestry or a detailed preparatory drawing can be even more rewarding than facing the overwhelming originals sometimes. You see the craftsmanship and thought process up close.

Why Charles Le Brun's Battles of Alexander Still Matter

It's easy to see these works as just relics of royal vanity or dusty museum pieces. But Charles Le Brun's Battles of Alexander series holds a crucial place:

• Peak of French Baroque: They represent the absolute zenith of the grand, theatrical, emotionally charged French Baroque style in painting. They *define* Louis XIV's artistic ambition.
• Power of Art as Propaganda: They are a masterclass in how art shapes perception and reinforces political power. Studying them is like dissecting a 17th-century PR campaign.
• Technical Virtuosity: Regardless of the subject matter, the sheer skill involved in composing such complex scenes, rendering anatomy (especially horses!), and managing a huge workshop is staggering. The organization alone boggles the mind.
• Influence: They shaped the direction of European academic art for nearly a century. Understanding them is key to understanding later movements like Neoclassicism, which reacted against them.

Sure, the relentless glorification of Alexander (and by extension, Louis) can feel a bit much today. The compositions are undeniably busy. But standing in that room at the Louvre, dwarfed by the scale and ambition, you can't deny the sheer power Le Brun harnessed. They aren't subtle, but they are unforgettable. Whether you love them or find them over-the-top, Charles Le Brun's Battles of Alexander remain a monumental achievement, a window into a world where art was the ultimate instrument of kings. And honestly, sometimes you just need to marvel at the audacity of it all.