7
FRANÇOIS BOUCHER (ÉCOLE DE) - Huile sur toile
Beschreibung
FRANÇOIS BOUCHER (ÉCOLE DE) , PARIS, 1703 – PARIS, 1770
Shepherd at the foot of a fountain in a landscape
Oil on canvas 156 x 121 cmIn the midst of a bucolic and cheerful nature, a shepherd takes a break while chatting with three young women. Lying at the foot of a fountain, accompanied by a goat and his dog, he plays his flute while conversing with these three peasant women who hand him flowers as a token of their love. It seems that the expression 'conter fleurette' was invented for his young men. For everything here is allusive to the pleasures of gallantry and marivaudage. Notwithstanding the presence of two young boys, incarnations of the stone putti adorning the fountain, the scene is an allegory of frolicking and games of seduction. The pastoral atmosphere is here only a pretext, shifting the context from the gallant conversations of the court to peasant love affairs in a watered-down nature. Everything here is reminiscent of a castle park, of which a factory can be seen in the background on the left, and which the sculpted fountain in the centre decorates in accordance with the taste for antiquity and ruins, which was very much in fashion at the time. On the right, the makeshift shelter used as a stable for cows and sheep announces the future craze for rustic cottages, such as those of Sylvie in Chantilly or of Queen Marie-Antoinette in Versailles. Moreover, these peasants with their un-country features look more like aristocrats in disguise playing a role. The pastel tones of the landscape, against which the more vivid silhouettes of the characters stand out, give the whole a cheerful and decorative aspect that perfectly suited the still rocaille decorations of the elegant interiors of the end of Louis XV's reign. Known as The Shepherd's Idyll, this composition by François Boucher was executed by the painter of Louis XV in 1768, as a counterpart to The Washerwomen. These two large (240 x 236 cm) decorative canvases were commissioned by Roslin d'Ivry for his château d'Hénonville, near Beauvais, and are now both housed at the Metropolitan Museum of Art in New York. They testify to Boucher's great virtuosity at the end of his career in a genre that made him successful and still identifies him today as one of the main representatives of the taste of the Enlightenment in France, the Pastorale galante.
François Boucher (1703-1770) is one of the most emblematic French painters of the Enlightenment. His galant painting, which favours the eroticism of the characters over the heroic nature of the historical subjects, was favoured by the court, and in particular by Madame de Pompadour, who commissioned many portraits from him. Appointed First Painter to King Louis XV in 1765, at the height of his career, Boucher began his apprenticeship with his father and then in the workshop of the engraver Jean-François Cars, with whom he became familiar with the work of Watteau. But it was with François Lemoyne, the leading decorator of Versailles, that he learned painting and the subtleties of the Rococo style. After a stay in Italy (1727-1731), he was admitted to the Royal Academy of Painting and Sculpture in 1734 with Renaud et Armide, now in the Louvre. Beyond history painting, whose mythological scenes are the pretext for gallant adventures, Boucher swept through a vast repertoire ranging from pastoral scenes to court portraits. This Birdcatcher (whose attribution to Boucher is confirmed by art historians Alastair Laing and Françoise Joulie) is one of the early works of the artist who was greatly influenced by the Flemish painters. Known during his stay in Italy as an artist 'painting in the Flemish manner', on his return he produced a series of rustic and droll drawings which were engraved to illustrate works by Molière (1622-1673). François Boucher's style is characterised by a lively, luminous and colourful touch. His painting, devoid of melancholy, evokes a joyful universe that abandons the torments of life to focus only on its pleasures. The idealized daily life to which he invites us is that perceived by a privileged society still spared from the revolutionary torments to come.
Provenance: Probably anonymous sale, Rouen, Me Fournier, 10-11 March 1975, no. 260; Anonymous sale, London, Sotheby's, 28 October 2010, no. 155; Private collection, United Kingdom.Bibliography: Probably Alexandre Ananoff and Daniel Wildenstein, ' François Boucher ', Lausanne-Paris, 1976, vol. II, p. 279, no. 654/6. Probably cat. Expo 'François Boucher', New-York, Detroit, Paris, 1986-1987, p. 308, mentioned in the entry for no. 79 (as a copy).
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FRANÇOIS BOUCHER (ÉCOLE DE) , PARIS, 1703 – PARIS, 1770
Shepherd at the foot of a fountain in a landscape
Oil on canvas 156 x 121 cmIn the midst of a bucolic and cheerful nature, a shepherd takes a break while chatting with three young women. Lying at the foot of a fountain, accompanied by a goat and his dog, he plays his flute while conversing with these three peasant women who hand him flowers as a token of their love. It seems that the expression 'conter fleurette' was invented for his young men. For everything here is allusive to the pleasures of gallantry and marivaudage. Notwithstanding the presence of two young boys, incarnations of the stone putti adorning the fountain, the scene is an allegory of frolicking and games of seduction. The pastoral atmosphere is here only a pretext, shifting the context from the gallant conversations of the court to peasant love affairs in a watered-down nature. Everything here is reminiscent of a castle park, of which a factory can be seen in the background on the left, and which the sculpted fountain in the centre decorates in accordance with the taste for antiquity and ruins, which was very much in fashion at the time. On the right, the makeshift shelter used as a stable for cows and sheep announces the future craze for rustic cottages, such as those of Sylvie in Chantilly or of Queen Marie-Antoinette in Versailles. Moreover, these peasants with their un-country features look more like aristocrats in disguise playing a role. The pastel tones of the landscape, against which the more vivid silhouettes of the characters stand out, give the whole a cheerful and decorative aspect that perfectly suited the still rocaille decorations of the elegant interiors of the end of Louis XV's reign. Known as The Shepherd's Idyll, this composition by François Boucher was executed by the painter of Louis XV in 1768, as a counterpart to The Washerwomen. These two large (240 x 236 cm) decorative canvases were commissioned by Roslin d'Ivry for his château d'Hénonville, near Beauvais, and are now both housed at the Metropolitan Museum of Art in New York. They testify to Boucher's great virtuosity at the end of his career in a genre that made him successful and still identifies him today as one of the main representatives of the taste of the Enlightenment in France, the Pastorale galante.
François Boucher (1703-1770) is one of the most emblematic French painters of the Enlightenment. His galant painting, which favours the eroticism of the characters over the heroic nature of the historical subjects, was favoured by the court, and in particular by Madame de Pompadour, who commissioned many portraits from him. Appointed First Painter to King Louis XV in 1765, at the height of his career, Boucher began his apprenticeship with his father and then in the workshop of the engraver Jean-François Cars, with whom he became familiar with the work of Watteau. But it was with François Lemoyne, the leading decorator of Versailles, that he learned painting and the subtleties of the Rococo style. After a stay in Italy (1727-1731), he was admitted to the Royal Academy of Painting and Sculpture in 1734 with Renaud et Armide, now in the Louvre. Beyond history painting, whose mythological scenes are the pretext for gallant adventures, Boucher swept through a vast repertoire ranging from pastoral scenes to court portraits. This Birdcatcher (whose attribution to Boucher is confirmed by art historians Alastair Laing and Françoise Joulie) is one of the early works of the artist who was greatly influenced by the Flemish painters. Known during his stay in Italy as an artist 'painting in the Flemish manner', on his return he produced a series of rustic and droll drawings which were engraved to illustrate works by Molière (1622-1673). François Boucher's style is characterised by a lively, luminous and colourful touch. His painting, devoid of melancholy, evokes a joyful universe that abandons the torments of life to focus only on its pleasures. The idealized daily life to which he invites us is that perceived by a privileged society still spared from the revolutionary torments to come.
Provenance: Probably anonymous sale, Rouen, Me Fournier, 10-11 March 1975, no. 260; Anonymous sale, London, Sotheby's, 28 October 2010, no. 155; Private collection, United Kingdom.Bibliography: Probably Alexandre Ananoff and Daniel Wildenstein, ' François Boucher ', Lausanne-Paris, 1976, vol. II, p. 279, no. 654/6. Probably cat. Expo 'François Boucher', New-York, Detroit, Paris, 1986-1987, p. 308, mentioned in the entry for no. 79 (as a copy).
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