Francois Boucher is a prominent representative of the Rococo era and a master of artistic arts in French painting of the early 18th century. Boucher’s work is extremely difficult to characterize only in some shades and angles, since his visual activity extends not only to paintings, but also to engraving and decoration. Being the court artist of the king, Francois was repeatedly entrusted with the most responsible work in the field of creative employment, such as: decorating books, creating unique costumes and images for Paris Opera, participation in performance unique interiors. Francois Boucher appears to us as a kind of extreme artist of his time, for the taste of his unique art is based solely on improvisation rather than on acquired experience. And all these features are reflected both in his paintings and in other artistic works.

In his artistic compositions, Boucher repeatedly touches on mythology along with pastorals and allegories. Thanks to such an extraordinary mixture, images appear that are thoroughly imbued with sentimentality, sensuality and even a certain unnatural sweetness.

In his canvases, Francois Boucher preferred to depict characters who succumb to love pleasures, or are depicted while going about their daily affairs. The heroes of the paintings are filled with blue and soft pink tones of colors. Smooth transitions of shadows and contrasts complement the compositions of the paintings in their already complex combination of curves, lines and volumes of figures. Boucher brilliantly mastered the techniques of drapery, presenting light from angles, arranging his characters in such a way that a whole series of other objects and decorations could be located next to them. The works of Francois Boucher amaze with their relaxedness and sensuality. Boucher paid special preference and attention to the goddess Venus, as well as to everyday life in Paris and very simple sketches from village life.

A distinctive feature of Francois Boucher's paintings is the light and pearly tones in which all the artist's paintings are made. By shrouding the entire plot of the painting in a kind of haze, the artist gives them even more mystery and transparency, which he always sought to depict in his paintings. Boucher is a lover of mythological themes. There is no truthfulness or realism in his paintings. The entire composition of the paintings is imbued with monotony, but it is extremely finely detailed and perfect in every stroke.

Having delved a little into specific facts from the artist’s life, it is worth mentioning his trip to Rome. This event has a special character, because it indirectly influenced the entire work of Francois Boucher. The author of famous paintings, visited Italy to deeply study creativity and life path the most famous artists such as Albano, as well as Pietro da Cortone. Cortone became fundamental element Boucher's subsequent work. The author’s paintings began to resemble canvases that came from the brush of the respected and inherited Pietro. But despite his ardent passion and reverence for Cortone, Francois did not lose his originality, but only emphasized individual details of his canvases, which, according to critics and the author’s contemporaries, became more clearly verified, acquired the missing strong core and courage, mixed with the lightness characteristic of the author in future, chill.

The subtle spiritual organization of the first artist of the king is clearly visible in each of his legendary works. An example of color and enlightenment in the depths of Boucher’s most varied spheres can be called the work “Hercules and Omphale”. Connoisseurs fine arts, have repeatedly pointed out the bright reflection of Flemish motifs in this work, and, accordingly, in the artist’s deep perception of the world. Expressive features and fleeting details, sometimes invisible to the ordinary observer of expressive images, speak of Francois’s remarkable powers of observation. Only imbued with the essence of things and their very the slightest features the creator of canvases is able to achieve and create unique and character-filled images of creatures, heroes of the Elliad, as well as noble persons of mythology and ethnicity.

Francois Boucher also experienced an acute crisis in his creativity. Towards the end of the eighteenth century, the author deeply felt and suffered the degradation of the aristocracy. The aristocratic society of that time reminded Francois of a pathetic parody, a mockery of the former system. The writer found himself in a time of remnants and this dramatically changed his handwriting. The author’s paintings became harsh, uncharacteristically cold, and, in the opinion of some connoisseurs, “lifeless.” As in the remnants of the aristocracy, feigned pathos, harsh elements of ridicule and superiority, and arrogance appeared on the canvases. The grace, fragility of the images and their characters - elements beloved by the author's admirers - have faded into oblivion, hidden under the dust of the author's experiences and vague grief about the past times and the foundations of the cultural life of society. Rococo, inherent in Boucher, was distorted beyond recognition and ugliness. Thus, once again the author’s paintings reflected his inner heartache, experiences and subtlety of creative nature.

Diana after the hunt

The artist Francois Boucher is one of the most famous French painters, decorator and engraver, the brightest representative of the Rococo culture.

The artist created a huge number of canvases and engravings, illustrated the literary masterpieces of Ovid, Moliere and Boccaccio. Worked a lot in the fields of decorative and applied arts: created costumes and scenery for theaters, collaborated with the Royal Tapestry Manufactories, created ornaments and paintings for Sèvres porcelain, devoted a lot of time to porcelain miniatures, painted fans, decorated palaces of the nobility and royal apartments.

Being a court painter, his works depicted not only fashionable life high society France, but also with great pleasure painted village fairs, rural genre paintings, portraits of the simplest people.

Portrait of François Boucher by Gustaf Lundberg

The artist Francois Boucher was born in September 1703 in Paris, in the family of the artist Nicolas Boucher, who created embroidery patterns and drew engravings.

From the very early childhood Francois helped his father in the workshop, where the talent of the future painter manifested itself.

Nicolas Boucher apprenticed his son to the famous French artist Francois Lemoine.

When Francois Boucher was seventeen years old, he left Lemoine's workshop and entered the engraving workshop of J.F. Carat Sr. Working in an engraving workshop provided a livelihood young man, and in addition allowed me to make useful contacts with high-ranking customers of the famous engraver.

For several years, Francois was engaged in illustrating books and creating engravings, and in 1723 he received an academic prize for the painting “Evilmerodach, son and heir of Nebuchadnezzar, freed from the shackles of King Joachim.” At this time, the artist became acquainted with the work of Antoine Watteau, became interested in the works of the famous artist, and began to study the compositional techniques of the great painter.

In 1723, Francois Boucher took part in the competition for the Rome Prize of the Royal Academy of Painting and Sculpture, became the winner of the competition, but could not go to Italy - there was no vacant place for the unknown artist in the Italian branch of the academy. Only 4 years later the artist managed to make a trip to Rome, where he became interested in the work of Cortona and Giovanni Lanfranco and began collecting drawings by Tiepolo.

After returning from Italy, the artist painted a whole series of canvases on biblical and mythological subjects, landscapes, interiors and pastorals, created sets for several operas and ballets, and began to fruitfully collaborate with porcelain and tapestry manufactories.

In 1734, Francois Boucher became a member of the Royal Academy, and subsequently a teacher, since during this period of time the artist got married, children were born in the family and the family desperately needed additional means for subsistence.

By the end of the decade financial situation The painter’s reputation became so established that Boucher allowed himself to be selective about orders and did not take on an order if the customer paid less than 300 livres.

At the end of the 40s of the eighteenth century, Madame Pompadour, the famous mistress of King Louis XV, became the patron of Francois Boucher. At first, Madame took drawing lessons from a famous painting master and paid very well for these lessons. However, evil tongues claim that the madam and the artist were engaged in more than just drawing during their lessons.

Madame de Pompadour

In any case, through Madame Pompadour, the artist began to receive lucrative orders from the chief manager of the royal estates, including sketches for sets and figurines that were produced at the porcelain factory in Sevres. Experts say that it was thanks to Boucher’s talent that porcelain from Sèvres became so popular in the eighteenth century.

IN recent years Throughout his life, the artist began to lose popularity, began to write and devote more and more time to administrative work at the Royal Academy.

After the revolution of 1789, the work of the artist, who “sullied” his name by his proximity to the royal court, was consigned to for many years oblivion. And this oblivion lasted for more than a century - until a multi-volume work on the art of the eighteenth century by the Goncourt brothers appeared.

Paintings by artist Francois Boucher

ladies toilet
Odalisque
Four seasons
Shepherd playing flute to shepherdess
Nude on the sofa Milliner Gardener
Pan and Syringa Shepherdess and shepherdess
Diana after swimming Toilet of Venus
Venus and Cupid
Landscape with a water mill
Cupid Training
Venus and putti
Revelations of shepherdesses
Frightened bather Diana with a nymph after the hunt Lovers in the park Cherry picking Jupiter and Callisto

Holy Family

John the Baptist

Saint Peter walks on water

Rest on the way to Egypt

Autumn

Putti fishermen

Cupids are reapers

Autumn

Putti with soap bubbles

Geniuses of the arts

Allegory of painting

Cupids - an allegory of painting

Allegory of Music

Musical putti

Target of love

Music and dance

Euterpe

Conspiracy of the Cupids

Toilet of Venus

Toilet of Venus

Venus comforting Cupid

Toilet of Venus

Venus on the wave

Venus and Cupid

Venus and Cupid

Triumph of Venus

Venus disarms Cupid

Venus and Vulcan

Mars and Venus caught by Vulcan

Cupid Training

Diana after the hunt

Diana after swimming

Sunrise

Sunset

Vulcan's Forge (Vulcan showing Venus a weapon for Aeneas)

Muse Erato

Muse Erato

The Kidnapping of Europa

The Kidnapping of Europa

The Rape of Europe

Rinaldo and Armida

Aurora and Cephalus

Hercules and Omphale

Leda and the swan

Bather Discovered

Pan and Syringa

Pan and Syringa

Brief biography of Francois Boucher

Francois Boucher (1703-1770), French painter and decorator.

Born on September 29, 1703 in Paris in the family of an ornamentist and print dealer.

Boucher is the most prominent representative of Rococo (a style movement in European art of the first half of the 18th century). He made a brilliant career, constantly received royal orders and was friendly with many art lovers. In 1723, Boucher received the Grand Prix of the French Academy for the painting “The Liberation of Joachim, Captive of Nebuchadnezzar.”

The artist’s favorite model at this time was Marie Jeanne Buzot, who soon became his wife. He continued to publish engravings (Molière, 1734–1737; The Cries of Paris, 1737) and began to receive expensive commissions. In 1734 Boucher was elected to the academy; this opens up a long life for him official career professor (1737), director of the academy and "the king's first artist" (1765).

The artist works at the tapestries manufactory in Beauvais and at the Royal Tapestry Manufactory in Paris, makes scenery for theater and opera productions, and is torn between orders from King Louis XV and the Marquise de Pompadour, as well as from his friends.

In 1736, Boucher painted a series of “Pastorals” of 14 parts, and in 1739, “The History of Psyche.” For the Royal Tapestry Manufactory he created two series - “The Loves of the Gods” and “Aminte” (1755-1756). Tapestry "Chinese Divertissements" (donated in 1764 by Louis XV to the Chinese Emperor), ornamental designs for porcelain products of the Sèvres manufactory (1757-1767) and numerous works for the theater and opera ensured Boucher the fame of the most important decorator of his time.

After the death of the Marquise de Pompadour in 1764, the artist continued to exhibit at the Salon, although J. B. Greuze and O. Fragonard began to attract more public attention. Boucher is getting old, his eyesight is weakening, but he continues to work. He travels to Flanders (1766), paints paintings on religious subjects (“Adoration of the Shepherds”, 1764, etc.), decorates the Palace of Marcilla (1769), creates numerous sets for opera performances (“Castor and Pollux", 1764; "Theseus", 1765; "Sylvia", 1766).

A few months before his death, Boucher was elected an honorary member of the Academy of Arts in St. Petersburg.

He can be considered the founder of the whole art school. The artist created a new canon female beauty, perfectly suited to the Parisian society of that time (“Dark Odalisque”, 1745; “Hercules and Omphale”, 1731-1734).

Boucher's landscapes are full of charm and fantasy ("Landscape in the vicinity of Beauvais", 1742, etc.). The artist distinguished himself as a decorator (Rest on the Flight into Egypt, 1757) and an ornamentalist, who was so often imitated in the 19th century.

A master of virtuoso drawings, Boucher made more than 10 thousand of them.

The son of an art teacher and compiler of embroidery patterns has a direct path to becoming an artist, or, well, a draftsman. For 18th century France, a draftsman and decorator is even better, a sure piece of bread. But the son of pattern designer Nicolas Boucher showed such abilities from childhood that his father decided to send his son to the workshop of a real artist.

So Francois got the opportunity to study with Lemoine and Cars, the most prominent masters of the first half of the 18th century in France.

Francois has always been very obedient, efficient and flexible. He had no behavioral problems and all his teachers were delighted with his hard work and diligence. The future royal artist quickly gained experience and tried himself in several types of fine art. His father wanted him to become a draftsman and decorator - Boucher creates several wallpaper patterns at once, which customers liked. Francois's teachers invite him to try his hand at engraving; the student diligently applies drawings to copper plates and is also not unsuccessful.

Boucher received his first academic prize at the age of 20. His painting of a biblical subject met all the requirements of Rococo fashion. It was bright, elegant, decorative, emotional and shallow in meaning. It must be said that Francois Boucher quickly understood what the public demanded of him and never deviated from the simple stock of techniques, color, and plot choices that were dictated to him by fashion and the aesthetic preferences of the aristocracy.

An important role in creative life Boucher played a role in creating engravings from paintings. This painstaking creative work for two years allowed Boucher to study the manner of a talented master.

The study trip to , which the artist made thanks to a scholarship from the academy, had virtually no impact on Boucher’s work. By this time, he had already decided on his style and used the business trip to find rich customers.

Real fame came to Boucher in 1730. It was at this time that the artist was introduced to Madame Pompadour, the royal favorite. Despite the fact that the artist has never painted portraits, he gladly agrees to make several portraits of the king’s beloved. I liked the portrait and golden times are coming for the master.

Boucher decorates and paints apartments in Versailles and works in other royal residences. Gradually, more and more piquancy appears in his works. The eroticism of his subjects displeases the Church, but all these delights appear according to the requirements of Pompadour. The artist remains untouchable for criticism of the clergy.

Boucher's numerous works on biblical, allegorical and household topics decorated the richest aristocratic salons. A hardworking and diligent master, in addition to painting, he designs opera performances and draws sketches for a tapestry factory.

Creative luck turned away from Boucher after new style- classicism - began to gain popularity in Europe. Along with the new style, all the piquant and illusory works of the artist ceased to interest the public, and with the death of Pompadour, the support of the king became a thing of the past.

The artist's last years passed in the silence of oblivion, but Boucher's financial situation was never dire. He left behind a very substantial fortune.

A true representative of French Rococo. Boucher was officially called the “First Artist of the King”, was the director of the Academy, and had the honorary right to occupy an apartment in the Louvre. And perhaps all of France knew about the favor of the king’s all-powerful favorite, Jeanne-Antoinette Poisson, Marquise de Pompadour.

And he was true son of his century, who knew how to do everything himself: panels for hotels, paintings for rich houses and palaces, cardboard for tapestry manufactory, theatrical scenery, book illustrations, drawings of fans, wallpaper, mantel clocks, carriages, costume sketches, etc. His easel paintings look like panels; panels can also look like independent works. However, his paintings are most famous. Having become interested in oil painting in his youth, the artist never changed this technique.

And all of this - gallant festivities, pastoral idylls, mythological, genre, religious themes, landscape - everything is played out like a contemporary pastoral, everything expresses a frankly sensual enjoyment of life, the white and pink heroine reigns in everything - the goddess Flora, and in fact dressed an aristocrat in a shepherd's outfit, looking like a Parisian everywhere, and it doesn't matter whether she's Venus or a shepherdess. Everywhere the artist depicted young model with radiant eyes, with a seemingly casual but seductive carelessness, wrapped in delicate fabrics, surrounded by flowers, fluttering erotica. Typical subjects are “The Triumph of Venus” or “The Toilet of Venus”, “Venus with Cupid” (with Vulcan, with Mars), “Diana’s Bath”, etc.

Already a famous artist, Boucher became the object of the most severe attacks by the theorist of aesthetic ideas of the Enlightenment, Diderot, who saw in the artist the creation of everything that the Enlightenmentists fought against. However, he did not deny him professionalism. And despite this criticism, Boucher's works enjoyed enormous popularity. They were bought by kings and emperors, dukes and counts, rich bourgeois.

Boucher came from a poor family and achieved success solely through his own labor. He received his initial training in the workshop of François Lemoine. Here the ability to “think in colors” was developed, to see the design in large color relationships. Later, he studied drawing and etching techniques in the workshop of Jean François Kara-père. Thanks to him, Boucher became acquainted with the work of Watteau, whom Kara-father greatly revered; and Boucher himself always wrote in the Rococo style, like Watteau. All his life he wrote "excitedly", left incredible large number paintings, tapestries, drawings, engravings and other works. And even when he was already a prosperous artist, favored by the authorities, he worked hard and fruitfully. Fascinated by the work of old masters, Boucher devoted a lot of energy to collecting. Towards the end of his life, he collected drawings and engravings by Rembrandt with particular passion.

Boucher enjoyed great popularity in Russia. He was even invited to become a professor at the Russian Academy of Arts in St. Petersburg, and Boucher accepted the invitation, but the death of the artist did not allow these plans to come true.

The more you look today at Boucher’s canvases, at this joyful painting shining with light, trembling with delicate color shades, and realize his amazing talent, the more you feel a truly integral, aesthetically full-blooded art.

Today, Boucher's paintings adorn the halls of the most prominent museums in the world. These works convey a feeling of fullness of life, enchant with the joyful gift of color harmony, free and jubilantly bright craftsmanship. No wonder Denis Diderot, who criticized him, paying tribute to his talent, could not help but say: “He has so much imagination, effect, magic and lightness!”