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LOT 1400406

FLUTE PLAYER WITH AUDIENCE BY FRANCOIS BOUCHER18. CENTURY.

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after Francois Boucher (circle), 18th century, oil on canvas, motif flute player with listeners, image dimensions: 52 x 29 cm.

Boucher perfected a technique for making facsimiles from colored chalk paintings. At that time, pictures became known through copies in engravings. His drawings and etchings, including book illustrations (Molière edition 1734) show his virtuosity.

Boucher primarily painted for noble customers; his pictures are spread all over Europe. Boucher devoted himself to grace and grace, in keeping with the gallantry of the time. He dealt with his favorite subject besides pastoral care, the naked female body, with a sensitive abundance and nuance that is unprecedented in the history of painting. # 3 In his paintings, often pastoral landscapes, mythological representations and portraits, there are bright, virtuoso painted colors , similar to Tiepolo, so z. B. with Diana in the bath. The occasion for what is probably Boucher's best-known work, the full-length portrait of the Marquise de Pompadour, was the appointment as Queen of the Queen. It shows the marquise in a casual pose on a chaise longue in a boudoir, in an environment of things of luxury and culture. Boucher shows all his skills in reproducing fabrics and still lifes. As a master of decorative art (in paintings, in ceiling paintings, interior decorations, designs for the tapestry manufactory in Béauvais, for opera stage sets and designs for the porcelain manufactory in Sèvre), he shaped the style at the court of Louis XV for decades. His paintings were found in the princely courts all over Europe. They resemble the motives of Antoine Watteau, whom he admired. He worked hard, painted a large number of pictures (the popularity increased with the distribution) and already brought about a regular production, just as an industrial spirit already announced in him. He maintained a studio with students who often finished his work, repeated excerpts in various contexts, and often painted copies of his pictures (so-called "Hand-made replicas") for various clients, such as in the case of Marie-Louise O’Murphy. As an official royal painter, Boucher was heavily criticized by Diderot and the encyclopedists. He was accused of portraying a light-hearted and frivolous 18th century, especially during the revolution. It was not until the end of the 19th Century he was again valued as a great painter. His most famous students were Jean-Honoré Fragonard and Jacques-Louis David. # 4 He was friends with Claude-Henri Watelet, whom he often visited in his Moulin Joly gardens, as well as with Hubert Robert. After his death, around 16,000 # 5 objects from his personal possession went on sale, including 700 # 5 chinoiseries.

His paintings hang in the Munich Alte Pinakothek, in Charlottenburg Palace in Berlin, in the Louvre, the St. Petersburg Hermitage and in the Wallraf-Richartz-Museum in Cologne.

Condition

Age-appropriate condition, see pictures.

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28 Sep 2020
Germany
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[ translate ]

after Francois Boucher (circle), 18th century, oil on canvas, motif flute player with listeners, image dimensions: 52 x 29 cm.

Boucher perfected a technique for making facsimiles from colored chalk paintings. At that time, pictures became known through copies in engravings. His drawings and etchings, including book illustrations (Molière edition 1734) show his virtuosity.

Boucher primarily painted for noble customers; his pictures are spread all over Europe. Boucher devoted himself to grace and grace, in keeping with the gallantry of the time. He dealt with his favorite subject besides pastoral care, the naked female body, with a sensitive abundance and nuance that is unprecedented in the history of painting. # 3 In his paintings, often pastoral landscapes, mythological representations and portraits, there are bright, virtuoso painted colors , similar to Tiepolo, so z. B. with Diana in the bath. The occasion for what is probably Boucher's best-known work, the full-length portrait of the Marquise de Pompadour, was the appointment as Queen of the Queen. It shows the marquise in a casual pose on a chaise longue in a boudoir, in an environment of things of luxury and culture. Boucher shows all his skills in reproducing fabrics and still lifes. As a master of decorative art (in paintings, in ceiling paintings, interior decorations, designs for the tapestry manufactory in Béauvais, for opera stage sets and designs for the porcelain manufactory in Sèvre), he shaped the style at the court of Louis XV for decades. His paintings were found in the princely courts all over Europe. They resemble the motives of Antoine Watteau, whom he admired. He worked hard, painted a large number of pictures (the popularity increased with the distribution) and already brought about a regular production, just as an industrial spirit already announced in him. He maintained a studio with students who often finished his work, repeated excerpts in various contexts, and often painted copies of his pictures (so-called "Hand-made replicas") for various clients, such as in the case of Marie-Louise O’Murphy. As an official royal painter, Boucher was heavily criticized by Diderot and the encyclopedists. He was accused of portraying a light-hearted and frivolous 18th century, especially during the revolution. It was not until the end of the 19th Century he was again valued as a great painter. His most famous students were Jean-Honoré Fragonard and Jacques-Louis David. # 4 He was friends with Claude-Henri Watelet, whom he often visited in his Moulin Joly gardens, as well as with Hubert Robert. After his death, around 16,000 # 5 objects from his personal possession went on sale, including 700 # 5 chinoiseries.

His paintings hang in the Munich Alte Pinakothek, in Charlottenburg Palace in Berlin, in the Louvre, the St. Petersburg Hermitage and in the Wallraf-Richartz-Museum in Cologne.

Condition

Age-appropriate condition, see pictures.

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Estimate
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Time, Location
28 Sep 2020
Germany
Auction House
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View it on