After examining the political and financial springs of the annexation of Provence by Louis XI in his previous work, the author focuses here on the artistic and cultural aspects of this history. What can an expansionist king expect from his generosity towards the churches of the coveted territories? This is the major problem that has been revealed through in-depth analyzes of works and largesse, both for themselves and as a manifestation of a multiple royal will irrigated by its context. Thus, unpublished works of art unrecognized reveal the history of Provençal heritage: the gothic chapel of Sainte-Baume, the golden reliquary of Sainte-Marthe de Tarascon, the tomb of Charles III in the Cathedral of. Aix and the great organ of the cathedral of Embrun. New contributions (sources, archaeological traces, iconographic corpus) make it possible to place them in a good place in the whole of the louis-onzienne munificence and in the history of art of the second fifteenth century western.^ Finally, the author proposes a reflection on the aesthetic, human, but also spiritual stakes of this munificence. In this vast search for meaning, he dwells notably on the exclusively flamboyant aesthetics of royal works, as well as on the exchanges between Louis XI, the local donors and King Rene, the reigning prince who can no longer be considered alone Agent of rebirth in Provençal Midi. Corpus iconographic) make it possible to place them in a good place in the whole of the louis-onzienne munificence and in the history of the art of the second XVe century occidental. Finally, the author proposes a reflection on the aesthetic, human, but also spiritual stakes of this munificence.^ In this vast search for meaning, he dwells notably on the exclusively flamboyant aesthetics of royal works, as well as on the exchanges between Louis XI, the local donors and King Rene, the reigning prince who can no longer be considered alone Agent of rebirth in Provençal Midi.--Page 4 of cover translated by Aix Marseille Université.