프랑소아 부셰(François Boucher)

François Boucher
Portrait of François Boucher by Gustaf Lundberg (1741)
Born	(1703-09-29)29 September 1703 Paris, Kingdom of France
Died	30 May 1770(1770-05-30) (aged 66) Paris, Kingdom of France
Nationality	French
Known for	Painting
Movement	Rococo

 

François Boucher (French pronunciation: ​[fʁɑ̃swa buʃe]) (29 September 1703 – 30 May 1770) was a French painter in the Rococo style. Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. He was perhaps the most celebrated painter and decorative artist of the 18th century. He also painted several portraits of his patroness, Madame de Pompadour.

The Afternoon Meal 1739




Rinaldo and Armida 1734




Brown Odalisk 1745




The Birth of Venus 1740




Diana Resting after her Bath 1742




Diana after the Hunt -




The Forest 1740




The Milliner (The Morning) 1746




Painter in his Studio -




An Autumn Pastoral 1749




A Summer Pastoral 1749




The Rape of Europa 1732-34




Venus Demanding Arms from Vulcan for Aeneas 1732




Winter 1735




Adoration of the Shepherds 1750




The Interrupted Sleep 1750




Resting Girl 1752




Portrait of Marquise de Pompadour 1759




Madame de Pompadour 1758




Portrait of Marquise de Pompadour 1756




Marquise de Pompadour at the Toilet-Table 1758




Apollo Revealing his Divinity to the Shepherdess 1750




Shepherd and Shepherdess Reposing 1761




The Rising of the Sun 1753




The Setting of the Sun 1752




The Toilet of Venus 1751




Vulcan Presenting Venus with Arms for Aeneas 1757

 

Life

Portrait of Marie-Jeanne Buzeau (1716-1796) by Alexander Roslin. Boucher married Buzeau in 1733 and they had three children together.

François Boucher, Portrait of Marie-Louise O'Murphy c. 1752, oil on canvas, 59 x 73 cm., (23.23 × 28.74 in), Wallraf-Richartz Museum, Cologne

 

A native of Paris, Boucher was the son of a minor painter Nicolas Boucher, who gave him his first

artistic training. At the age of seventeen, a painting by Boucher was admired by the painter François Lemoyne. Lemoyne later appointed Boucher as his apprentice, but after only three months, he went to work for the engraver Jean-François Cars.^[1]

 

In 1720, he won the elite Grand Prix de Rome for painting, but did not take up the consequential opportunity to study in Italy until five years later, due to financial problems at the Académie royale de peinture et de sculpture.^[1] on his return from studying in Italy he was admitted to the refounded Académie de peinture et de sculpture on 24 November 1731.^[2] His morceau du reception (reception piece) was his Rinaldo and Armida of 1734.^[2]

 

Boucher became a faculty member in 1734 and his career accelerated from this point as he was promoted Professor then Rector of the Academy, becoming head of the Royal Gobelins Manufactory in 1755 and finally Premier Peintre du Roi (First Painter of the King) in 1765.

 

Boucher died on 30 May 1770 in his native Paris. His name, along with that of his patron Madame de Pompadour, had become synonymous with the French Rococo style, leading the Goncourt brothers to write: "Boucher is one of those men who represent the taste of a century, who express, personify and embody it."

 

Boucher is famous for saying that nature is "trop verte et mal éclairée" (too green and badly lit).^[3]

Boucher was associated with the gemstone engraver Jacques Guay, whom he taught to draw. Later Boucher made a series of drawings of works by Guay which Madame de Pompadour then engraved and distributed as a handsomely bound volume to favored courtiers.^[4] The neoclassical painter Jacques-Louis David began his painting instruction under Boucher.

Painting

The Secret Message

 

Reflecting inspiration gained from such artists as Peter Paul Rubens and Antoine Watteau, Boucher's early works celebrate the idyllic and tranquil portrayal of nature and landscape with great elan. However, his art typically forgoes traditional rural innocence to portray scenes with a definitive style of eroticism as his mythological scenes are passionate and intimately amorous rather than traditionally epic. Marquise de Pompadour (mistress of King Louis XV), whose name became synonymous with Rococo art, was a great admirer of his work.

 

Boucher's paintings such as The Breakfast (1739), a familial scene, show how he was as a master

of the genre scene, where he regularly used his own wife and children as models. These intimate

family scenes are contrasting to the licentious style seen in his Odalisque portraits.

The dark-haired version of the Odalisque portraits prompted claims by the art critic Denis Diderot that Boucher was "prostituting his own wife", and the Blonde Odalisque was a portrait that illustrated the extramarital relationships of the King. Boucher gained lasting notoriety through such private commissions for wealthy collectors and, after Diderot expressed his disapproval, his reputation came under increasing critical attack during the last years of his career.

Theatrical and tapestry designs

Diana and Callisto, 1759

 

Along with his painting, Boucher also designed theater costumes and sets, and the ardent intrigues of the comic operas of Charles Simon Favart closely paralleled his own style of painting. Tapestry design was also a concern. For the Beauvais tapestry workshops he first designed a series of Fêtes italiennes ("Italian festivals") in 1736, which proved to be very successful and often rewoven over the years, and then, commissioned in 1737, a suite of the story of Cupid and Psyche.^[5] During two decades' involvement with the Beauvais tapestry workshops Boucher produced designs for six series of hangings in all, like the tapestry showing Psyche and the Basketmaker from 1741–1742. only his appointment in 1755 as director of the rival Gobelins tapestry terminated the association.

 

Boucher was also called upon for designs for court festivities organized by that section of the King's household called the Menus-Plaisirs du Roi and for the opera and for royal châteaux Versailles, Fontainebleau and Choisy. His designs for all of the aforementioned augmented his earlier reputation, resulting in many engravings from his work and even reproduction of his designs on porcelain and biscuit-ware at the Vincennes and Sèvres factories.

Gallery

• 

  Self-portrait in the Studio, 1720, Louvre

• 

  Putti with Birds, c. 1730-1733, Honolulu Museum of Art

• 

  Rinaldo and Armida, 1734

• 

  Diana Leaving the Bath 1742

• 

  Venus Consoling Love 1751

• 

  The Toilet of Venus (1751) typifies the pleasing elegance of Boucher's mature style.

• 

  The Bridge, 1751, Louvre

• 

  Madame de Pompadour, 1756, Alte Pinakothek

• 

  Saint Peter Attempting to Walk on Water, 1766, Cathédrale Saint-Louis, Versailles

• 

  Dreaming Shepherdess

• 

  Autumn Pastoral

• 

  Vulcan Presenting Venus with Arms for Aeneas

프랑스풍의 로코코 양식을 완벽하게 표현한 작품들을 제작했다. 레이스 디자이너인 아버지에게서 미술을 배웠으며, 1723년 로마상을 받았다. 조반니 바티스타 티에폴로, 페테르 파울 루벤스, 그리고 그의 스승인 프랑수아 르 무안의 작품에서 영향을 받았다. 그가 주문받은 첫 주요작품은 앙투안 와토가 그린 125점의 드로잉을 판화로 새긴 것이었다. 그는 몰리에르의 작품집에 삽화를 그렸고, 보베 태피스트리 공장을 위해 농가의 마당 풍경과 중국식 풍자화를 그렸다.

처음에는 감각적이고 명랑한 분위기의 신화를 소재로 한 그림들과 목가적인 풍경화들로 명성을 얻었다. 당시의 여왕과 그의 친구이자 후원자인 퐁파두르 부인의 주문에 따라 베르사유·마를리·벨뷔 등지에서 뛰어난 장식화들을 그렸다. 1734년 왕립 아카데미 회원이 되었으며, 그후 고블랭 태피스트리 공장의 책임자이자 왕립자기공장의 주요도안가가 되었다. 1765년 왕립 아카데미 회장이 되었으며 루이 15세의 수석화가로 임명되었다. 1740년대와 1750년대 동안 부셰의 우아하고 세련되면서도 경쾌한 양식은 루이 15세 왕실의 특징이 되었다. 그의 작품은 미묘한 색채 사용과 품위있는 형태, 뛰어난 기교, 평범한 주제 등을 특징으로 했다. 지금은 특히 누드 소묘에 뛰어난 18세기 화가로 널리 인정받고 있다. 그는 대단한 성공을 거두었지만 말년에는 예술적 명성을 잃었다. 지나치게 많은 작품을 제작했으며, 자신의 그림을 아무렇게나 태피스트리에 옮기고 점점 성의없게 작품을 만들었다. 게다가 마침 신고전주의가 출현하게 되자 대중과 드니 디드로 등 주요평론가들에게서 모두 인기를 잃었다. <브리태니커>

 

François Boucher

아름답고 사랑스러운 그림을 좋아하는 사람에게 추천하고 싶은 화가 

* 출처:다음 블로그 '차 마시는 고양이(http://blog.daum.net/secretgarden00/48 )

 

 

 



「Young Woman with a Bouquet of Roses」


사전적으로 설명하면

18C 로코코 시대를 대표하는 화가.

화려하고 장식적인 귀족적 취향에 맞는 그림을 그렸다. 라고 할 수 있지만

 

 

나는 그저 '사랑스러운 그림을 그린 사람' 이라고 말하고 싶다.

(그의 그림에 많이 나오는 소재인 큐피트는 정말 귀엽고 사랑스럽다 ♡_♡)
 
생각해보면 귀족적 취향이 따로 있을까 싶다.

그 당시 대부분의 귀족들은 사치스러웠고, 뽐내는 것이 일상이자 취미였으니

화려하고 장식적인 것을 선호하는게 당연하겠지 싶다가도

그 중에는 귀족이지만 심플한 걸 좋아하는 사람도 있지 않았을까, 또 평민이라도 화려하고 장식적인 걸 좋아할 수도 있지 않나 싶다.

취향은 사회적인 영향을 받기도 하지만 개인적인 문제니까  
 
'많은 의미를 담고 있고 시대적 진정성을 띄어야 예술이지' 하는 사람도 있겠지만

나는 그저 보는 것만으로도 입가에 미소가 지어지는, 아름다움에 최우선 가치를 두고 있는 그림도

충분히 가치있다고 생각한다.

조금 더 더해서 무언가 더 상상하게 하는 그림은 더 좋고 !


위에 있는 그림의 제목은 'Young Woman with a Bouquet of Roses'인데 유명한 그림은 아니다.
부셰의 대표작은 루이 15세의 정부를 그린 '퐁파두르 부인의 초상' 이지만

이 아가씨도 사랑스러워서 


 

 

 

「비너스의 단장」



 

 

 

당시 여성누드는 그냥 그리면 철컹철컹 쇠창살까지는 아니더라도 질타를 받았다고 한다.

그래서 옆에 큐피트 쓱쓱 그려주고 비너스인 척했는데,

밑에서 보면 알겠지만 얼굴은 퐁파두르 부인

 

 

 

「퐁파두르 부인의 초상」





루이 15세의 정부였던 퐁파두르부인

 

외모뿐만 아니라 지성과 교양도 겸비해 루이 15세의 총애를 받았다고 한다.

나중에는 정치적인 조언도 했다는.

 

 

 

 



 

 



 

 





 

 



 

 

 

 

밑에 나오는 작품은 두개가 한 셋트인 듯

구도도 비슷하고 등장인물도 비슷한데

색감과 명도를 휙휙 조절해서 그 차이로 해가 뜨고 지는 모습을 표현했다.

 

 

 

「일출」

 



 

 

 

「일몰」