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  Francois Boucher

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Francois Boucher
 
 
 

Portrait of François Boucher by Gustaf Lundberg (1741)
 
 
Francois Boucher, (born Sept. 29, 1703, Paris, France—died May 30, 1770, Paris), painter, engraver, and designer whose works are regarded as the perfect expression of French taste in the Rococo period.

Trained by his father, a lace designer, Boucher won the Prix de Rome in 1723. He was influenced by the works of Giovanni Battista Tiepolo, Peter Paul Rubens, and his teacher François Le Moyne. Boucher’s first major commission was for engravings of 125 drawings by Antoine Watteau. After illustrating an edition of Molière’s works, he drew cartoons of farmyard scenes and chinoiserie for the Beauvais tapestry factory.

 
 

Portrait of Marie-Jeanne Buzeau (1716-1796) by Alexander Roslin. Boucher married Buzeau in 1733 and later had three children together.
 
 
Boucher first won fame with his sensuous and light-hearted mythological paintings and pastoral landscapes. He executed important decorative commissions for the queen at Versailles and for his friend and patron, Mme de Pompadour, at Versailles, Marly, and Bellevue. He became a member of the Royal Academy in 1734 and then became the principal producer of designs for the royal porcelain factories, as well as director of the Gobelins tapestry factory. In 1765 he became director of the Royal Academy and held the title of first painter to King Louis XV.

During the 1740s and ’50s Boucher’s elegant and refined but playful style became the hallmark of the court of Louis XV. His work was characterized by the use of delicate colours, gently modeled forms, facile technique, and light-hearted subject matter. Boucher is generally acclaimed as one of the great draftsmen of the 18th century, particularly in his handling of the female nude.

Although immensely successful, Boucher lost his artistic preeminence toward the end of his life; overproduction, poor translations of his paintings into tapestries, the growing sterility of his own work, and the emergence of Neoclassicism caused him to lose favour, both with the public and with such leading art critics as Denis Diderot.

Encyclopædia Britannica

 
 
 


The Afternoon Meal
1739
Oil on canvas, 81,5 x 65,5 cm
Musée du Louvre, Paris

 
 
 
 

Painter in his Studio
Oil on wood, 27 x 22 cm
Musée du Louvre, Paris






The Love Letter



Offering of a Rose



The Forest
1740
Oil on canvas, 131 x 163 cm
Musée du Louvre, Paris






Are They Thinking About the Grape?
1747
Oil on canvas
Art Institute of Chicago, Chicago


 


The Milliner (The Morning)
1746
Oil on canvas, 64 x 53 cm
Nationalmuseum, Stockholm



An Autumn Pastoral
1749
Oil on canvas, 260 x 199 cm
Wallace Collection, London


 


A Summer Pastoral
1749
Oil on canvas, 259 x 197 cm
Wallace Collection, London

 



Pastorale: The Vegetable Vendor

 
 
 
 

Adoration of the Shepherds
1750
Oil on canvas
Musée des Beaux-Arts, Lyon




La "Toilette"



The Interrupted Sleep
1750
Oil on canvas
Metropolitan Museum of Art, New York






Escena Pastoral

 
 
 
 


The Young Lovers

 


Shepherd and Shepherdess Reposing
1761
Oil on canvas, 77 x 64 cm
Wallace Collection, London






Vadeando

 
 
 

 
 
 
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