For those who love the "classical" painting, here is a show not to be missed, until July 21 at the Paris MusÃ©e Jacquemart-AndrÃ©, as original, informative and enjoyable, but it is better to avoid the crowds. We discover a particular style: French painting of the eighteenth century witnessed several stages, and the one presented here covers a period of sixty years, starting with the creator of the genre, Antoine Watteau (1684-1721), s' ending with the work of HonorÃ© Fragonard (1732-1806).
A revolutionary new genre at the time, "the fÃªte galante." Under this heading are found inspired Venetian and Flemish paintings of the previous centuries pastoral Watteau transformed subtly transforming rural dances in delicate ceremonies, boorish decorations charming landscapes, while refined scenes highlighting frivolous pleasures and gallant. What attract art lovers who triumph then this lighter and more festive artistic expression that hitherto prevailing classicism.
Watteau is the absolute master of the genre. Remarkable draftsman, colorist subtle, delicate painter in a few years it has influenced the French art world, advocating for painting with nature at its most charming characters enamored aspect, with a theatrical connotations sometimes implying a certain eroticism ( for the time!). It is unclear whether this is a dream or reality, but it is so out of the rigor imposed by Louis XIV and his court.
Encouraged by the success of these paintings from wealthy merchants and influential leaders, many artists who adopt the love scenes: Jean Baptiste Pater, only known pupil of Watteau, Nicolas Lancret which reinterprets the theme of the master, FranÃ§ois Lemoyne, Claude Gillot, Gabriel de Saint Aubin or Antoine Pesne. . . all here. But it is especially FranÃ§ois Boucher, a great lover of shepherdesses with sumptuous compositions and HonorÃ© Fragonard extravagant themes in the monumental canvases that perpetuate gender, making it more realistic, some places and some characters being (re) known. The exhibition ends with a masterpiece by Fragonard, "The party in Saint-Cloud", a huge table, exceptionally loaned by the Bank of France, a work which marks the apotheosis of the fÃªte galante. . . but also its end, giving way to a rigorous nÃ©oclassisisme again.
The merit of this exhibition of sixty extraordinary paintings (and a few drawings by Watteau demonstrating his artistic mastery) came as well as the Louvre Saint Petersburg, Angers that Washington is having staged this totally hexagonal movement, wrongly, the evidence in this exhibition, as somewhat outdated and playful, but representative of an ideal social expression, illuminating the Enlightenment. The whole exudes a carefree atmosphere and poetic charm. To see so. For extended data regarding this subject read fact.