ART SUNDAY - FRANÇOIS BOUCHER

“I’m a Baroque person. More than Baroque, I’m a Rococo person. I don’t draw straight lines.” ― Nuno Roque

François Boucher (born Sept. 29, 1703, Paris, France—died May 30, 1770, Paris) was a 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.

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.

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 characterised by the use of delicate colours, gently modelled forms, facile technique, and light-hearted subject matter. Boucher is generally acclaimed as one of the great draughtsmen 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.

Yet Boucher, in defiance of an increasing demand from theorists, critics, and public agitators, continued to exhibit his cheerful and sugary visions of pastoral bliss and mythological trysts at the biennial Salons. Indeed, his social connections and efficient careerism resulted in his appointment in 1765 as First Painter to the King and his election as director of the Académie Royale. This final triumph was short lived, however, as Boucher died in Paris in 1770.

The painting above is "Spring" of 1755, one painting of a set of four depicting the Seasons. This is typical of Boucher's style and subject matter.

ART SUNDAY - VIGÉE-LE BRUN

“I measure the progress of a community by the degree of progress which women have achieved.” - B. R. Ambedkar

Élisabeth-Louise Vigée-Le Brun (April 16, 1755 - March 30, 1842) was a French painter, and is recognised as the most famous female painter of the eighteenth century. Her style is neoclassical in that it exhibits ideals of simplicity and purity. Her work can also be considered Rococo in its grace, delicacy, and naturalism.

She was born in Paris, Marie Élisabeth-Louise Vigée, the daughter of a portraitist and fan painter, Louis Vigée, from whom she received her first lessons. She also benefited by the advice of Gabriel François Doyen, Jean-Baptiste Greuze, Joseph Vernet, and other masters of the period. By the time she was in her early teens, she was painting portraits professionally. After her studio was seized, for practicing without a license, she applied to the Académie de Saint Luc, which willingly exhibited her works in their Salon. On 25 October 1774, she was made a member of the Académie.

In 1776, she married Jean-Baptiste-Pierre Le Brun, a painter and art dealer. She painted portraits of many of the nobility of the day and as her career blossomed, she was invited to the Palace of Versailles to paint Marie Antoinette, the French Queen consort. So pleased was the queen that over the next several years, Vigée-Le Brun was commissioned to do numerous portraits of the queen, her children, and other members of the royal family and household.

In 1781 she and her husband toured Flanders and the Netherlands where seeing the works of the Flemish masters inspired her to try new techniques. There, she painted portraits of some of the nobility, including the Prince of Nassau. On May 31, 1783, Vigée Le Brun was accepted as a member of France’s Académie Royale de Peinture et de Sculpture as a painter of historical allegory. Adélaïde Labille-Guiard also was admitted on the same day. The admission of Vigée-Le Brun was opposed on the grounds that her husband was an art dealer, but eventually objections were overruled by an order from Louis XVI because Marie-Antoinette put considerable pressure on her husband on behalf of her painter.

The admission of more than one woman on the same day to the Académie encouraged comparisons among the works of the women instead of one woman contrasted with the existing members, who were men. In 1789, she was succeeded as court painter to Marie Antoinette by Alexander Kucharsky.

After the arrest of the royal family during the French Revolution Vigée-Le Brun fled France. She lived and worked for some years in Italy, Austria, and Russia, where her experience in dealing with an aristocratic clientèle was still useful. In Rome, her paintings met with great critical acclaim and she was elected to the Roman Accademia di San Luca. In Russia, she was received by the nobility and painted numerous members of the family of Catherine the Great. While there, Vigée-Le Brun was made a member of the Academy of Fine Arts of Saint Petersburg.

She was welcomed back to France during the reign of Emperor Napoleon I. Much in demand by the élite of Europe, she visited England at the beginning of the nineteenth century and painted the portrait of several British notables including Lord Byron. In 1807 she traveled to Switzerland and was made an honorary member of the Société pour l’ Avancement des Beaux-Arts of Geneva.

She published her memoirs in 1835 and 1837, which provide an interesting view of the training of artists at the end of the period dominated by royal academies. Her portrait of fellow neoclassical painter, Hubert Robert, is in Paris at Musee National du Louvre. Still very active with her painting in her fifties, she purchased a house in Louveciennes, Île-de-France, and lived there until the house was seized by the Prussian Army during the war in 1814. She stayed in Paris until her death on March 30, 1842 when her body was taken back to Louveciennes and buried in the cemetery near her old home. Her tombstone epitaph states “Ici, enfin, je repose…” (Here, at last, I rest…).

Vigée-Le Brun left a legacy of 660 portraits and 200 landscapes. In addition to private collections, her works may be found at major museums, such as Hermitage Museum, London’s National Gallery, in Europe and the United States. The painting above, “The Marquise de Pezay and the Marquise de Rougé with Her Sons Alexis and Adrien”, painted in 1787 is exhibited at the National Gallery of Art and exemplifies well her refined and highly accomplished style. Intimate portraits of women and children were Vigée-Le Brun’s specialty and were highly popular with her aristocratic sitters.

MUSIC SATURDAY - MICHEL CORRETTE

“In my eyes and ears the organ will forever be the king of instruments.” – Wolfgang Amadeus Mozart

Michel Corrette (1707 – 1795) was a French organist, composer and author of books on musical theory and practice. A prolific composer, Corrette composed ballets and divertissements for the stage, and many concertos, notably 25 Concertos Comiques. Aside from these works and concertos for organ, he also composed sonatas, songs, chamber works, harpsichord pieces, cantatas and other sacred vocal works.

Here are the six Op. 26 Organ Concertos. François-Henri Houbart plays the organ of Notre Dame des Blancs-Manteaux.