Jean-Baptiste-Siméon Chardin (1699-1779) A collection of paintings 4K Ultra HD
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- Опубликовано: 7 сен 2024
- Jean-Baptiste-Siméon Chardin (1699-1779) was an 18th-century French painter. He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities.
Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.
According to one nineteenth-century writer, at a time when it was hard for unknown painters to come to the attention of the Royal Academy, he first found notice by displaying a painting at the "small Corpus Christi" on the Place Dauphine. Van Loo, passing by in 1720, bought it and later assisted the young painter.
Upon presentation of The Ray in 1728, he was admitted to the Académie Royale de Peinture et de Sculpture. The following year he ceded his position in the Académie de Saint-Luc. He made a modest living by "producing paintings in the various genres at whatever price his customers chose to pay him". In November 1731 his son Jean-Pierre was baptised, and a daughter, Marguerite-Agnès, was baptised in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agnès had died as well.
Chardin's work gained popularity through reproductive engravings of his genre paintings (made by artists such as François-Bernard Lépicié and P.-L. Sugurue), which brought Chardin income in the form of "what would now be called royalties". In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The union brought a substantial improvement in Chardin's financial circumstances. In 1745 a daughter, Angélique-Françoise, was born, but she died in 1746.
In 1772 Chardin's son, also a painter, drowned in Venice, a probable suicide. The artist's last known oil painting was dated 1776; his final Salon participation was in 1779, and featured several pastel studies. Gravely ill by November of that year, he died in Paris on December 6, at the age of 80.
Chardin's work had little in common with the Rococo painting that dominated French art in the 18th century. At a time when history painting was considered the supreme classification for public art, Chardin's subjects of choice were viewed as minor categories. He favored simple yet beautifully textured still lifes, and sensitively handled domestic interiors and genre paintings. Simple, even stark, paintings of common household items and an uncanny ability to portray children's innocence in an unsentimental manner nevertheless found an appreciative audience in his time, and account for his timeless appeal.
Largely self-taught, Chardin was greatly influenced by the realism and subject matter of the 17th-century Low Country masters. Despite his unconventional portrayal of the ascendant bourgeoisie, early support came from patrons in the French aristocracy, including Louis XV. Though his popularity rested initially on paintings of animals and fruit, by the 1730s he introduced kitchen utensils into his work (The Copper Cistern, ca. 1735, Louvre). Soon figures populated his scenes as well, supposedly in response to a portrait painter who challenged him to take up the genre. Woman Sealing a Letter, which may have been his first attempt, was followed by half-length compositions of children saying grace, as in Le Bénédicité, and kitchen maids in moments of reflection. These humble scenes deal with simple, everyday activities, yet they also have functioned as a source of documentary information about a level of French society not hitherto considered a worthy subject for painting. The pictures are noteworthy for their formal structure and pictorial harmony. Chardin said about painting, "Who said one paints with colors? One employs colors, but one paints with feeling."
In 1756 Chardin returned to the subject of the still life. In the 1770s his eyesight weakened and he took to painting in pastels, a medium in which he executed portraits of his wife and himself. His works in pastels are now highly valued. Chardin's extant paintings, which number about 200, are in many major museums, including the Louvre.
Chardin's influence on the art of the modern era was wide-ranging, and has been well-documented. Édouard Manet's half-length Boy Blowing Bubbles and the still lifes of Paul Cézanne are equally indebted to their predecessor. He was one of Henri Matisse's most admired painters; as an art student Matisse made copies of four Chardin paintings in the Louvre. Chaim Soutine's still lifes looked to Chardin for inspiration, as did the paintings of Georges Braque, and later, Giorgio Morandi. In 1999 Lucian Freud painted and etched several copies after The Young Schoolmistress.
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Underrated genius in my opinion.
Wonderful. Thank you for making this available.
instablaster.
no audio?????????
Indeed, needs some classical music.
Some wonderful still life studies. A sad life story though. Why did his little girls die and his son kill himself. Maybe his art got him through his grief.
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