François Boucher, French, 1703 – 1770, An ebullient rococo stylist… François Boucher joined a select group of masters who would mesmerize society during the 1700’s and enrich themselves as non-starving artists. The court of Louis XV (r. 1715-1774) adored his work and that of other Rococo masters with tremendous patronage. His works are celebrated the world over in 2010 and certainly his freedom of speech shown in drawings and paintings contributed to the great movement of freedom. Although rarely credited for exposing the world to freedom, he can be thanked for America and France being set free – as well as the final collapse of kingdoms and royalty running the globe.
François Boucher, French, 1703 – 1770, An ebullient rococo stylist…
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… Primarily painted in France his entire life
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… The Bath of Venus , 1751, oil on canvas, overall: 107 x 84.8 cm (42 1/8 x 33 3/8 in.) framed: 132.1 x 110.2 x 7.6 cm (52 x 43 3/8 x 3 in.), Chester Dale Collection, 1943.7.2, On View . The colors in the painting exhibit that of often Rococo mentioned, softness in painting. They are amazingly nude in there gentleness and hue . Ample vantage point is taken with the mass of background blue and green leaves. The tenderness of the treatment of handling skin color is amazing as the realness of the doves.
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… Allegory of Music , 1764, oil on canvas, overall: 103.5 x 130 cm (40 3/4 x 51 3/16 in.) framed: 130.8 x 157.5 cm (51 1/2 x 62 in.), Samuel H. Kress Collection, 1946.7.2, On View . The excellence of the painting itself is encased in soft background which illuminates those subjects in the foreground. The salmon colored cape and usage of breast being shown, capture the eye, as much as the golden harp. A vanishing point is achieved in this painting, mired in semi-murky, smaller clouds.
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… Allegory of Painting , 1765, oil on canvas, overall: 101.5 x 130 cm (39 15/16 x 51 3/16 in.) framed: 129.5 x 157.5 cm (51 x 62 in.), Samuel H. Kress Collection, 1946.7.1, On View By this point you are getting used to the softness of painting in the Rococo style and its facets of being ornate, florid, and playful. The lines and shadows of these paintings by Boucher are realistic and accurate to the most miniscule detail . It is important to note and admit that he obviously had no one posing for these paintings. Due to the softness of colors , one must lean in to see the contrasting subjects and what they are doing. Without boldness , one of the secrets of Rococo is forcing the viewer to lean forward and squint. Evaluate your own behavior and see, bodily, if this is not true…
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… The Love Letter , 1750, oil on canvas, overall: 81.2 x 75.2 cm (31 15/16 x 29 5/8 in.) Timken Collection, 1960.6.3, On View . Once again, the Love Letter, takes great usage of color in darkened green trees and leaves, juxtaposed against illuminated branches, hanging nearer the sun. Look at the one lighter green branch against the blue background . The lambs are cute - as are the flowers on the ground. The dresses contrast off of one another as nice as the privacy of sharing the letter from some unknown man. The lion in the background offers age of the garden while the distance on the left of the painting provides a spectrum of totality . Here they are in a small and intimate world, yet it is larger than just this moment, where movement is suggested via discussion.
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… Madame Bergeret , possibly 1766, oil on canvas, overall: 143.5 x 105.4 cm (56 1/2 x 41 1/2 in.) framed: 172.4 x 134.3 cm (67 7/8 x 52 7/8 in.), Samuel H. Kress Collection, 1946.7.3, On View . The delicate colors and curving forms typical of Rococo are glimmering in Madame Bergeret. Texture is greatly achieved in this painting on the left, in the shape and form of leaves and bushes. Space and balance are lovely in the large white dress - and haze to the upper right, which encases her beautiful head, allowing for greater appreciation of it.
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… Venus Reclining on a Dolphin , c. 1745, black chalk heightened with white on brown laid paper, overall: 22 x 33.7 cm (8 11/16 x 13 1/4 in.), The Armand Hammer Collection, 1991.217.14, Not on View. This drawing makes heavy use of lines and little color. Surprisingly, texture is achieved in the waves! This pattern ultimately provides unity to the painting as one looks and looks for where the dolphin really is. Finally, I hope you find him and his eyes.
François Boucher, French, 1703 – 1770, An ebullient rococo stylist… References: Aleka, Francois Boucher , 19 Jun. 2010, http:// www.youtube.com/watch?v =yH2EtfREKCQ . Web. Carosio, Gil, Francois Boucher Rococo Painter , 19 Jun. 2010, http://www.youtube.com/watch?v=fp7Dop66nTE . Web. Farmer, J. D. "A New Painting by François Boucher." Bulletin of the Art Institute of Chicago (1973-1982) 68.2 (1974): 16-20. Print. Hawley, H. H. "Ceramics of the Rococo Age." The Bulletin of the Cleveland Museum of Art (1961): 51-5. Print. Landau, E. G. "" A Fairytale Circumstance" the Influence of Stage Design on the Work of François Boucher." The Bulletin of the Cleveland Museum of Art 70.9 (1983): 360-78. Print. Rich, D. C. "A" Bathing Nymph" by Boucher." Bulletin of the Art Institute of Chicago (1907) 26.3 (1932): 26-7. Print. SPARY, EC. "14 Rococo Readings of the Book of Nature." Books and the sciences in history (2000): 255. Print. The National Gallery of Art, Francois Boucher , 19 Jun. 2010, http:// www.nga.gov/home.htm (all paintings, media and size specifications). Web.