Masters of the “gallant genre”: Rococo painting
The main themes of Rococo painting are the refined life of the court aristocracy, “gallant festivities”, idyllic pictures of “shepherd’s” life against the background of pristine nature, the world of complex love intrigues and ingenious allegories. Human life is instantaneous and fleeting, and therefore it is necessary to catch the “happy moment”, to hasten to live and feel. “The spirit of lovely and airy little things” (M. Kuzmin) becomes the leitmotif of many artists of the “royal style”.
For most Rococo painters, Venus, Diana, nymphs and cupids outshine all other deities. All kinds of “bathing”, “morning toilets” and instant pleasures are now almost the main subject of the image. Exotic names of flowers are in vogue: “the color of the thigh of a frightened nymph” (flesh), “the color of a rose floating in milk” (pale pink), “the color of lost time” (blue). Clearly thought out, slender compositions of classicism give way to an elegant and sophisticated pattern.
Antoine Watteau (1684-1721) was called by his contemporaries “the poet of carefree leisure”, “the singer of grace and beauty.” In his works, he captured picnics in evergreen parks, musical and theatrical concerts in the bosom of nature, passionate confessions and quarrels of lovers, idyllic dates, balls and masquerades. At the same time, in his paintings there is an aching sadness, a sense of the transience of beauty and the ephemerality of what is happening.
One of the famous paintings of the artist – “Pilgrimage to the island of Kiferu”, thanks to which he was admitted to the Royal Academy of Painting and Sculpture and received the title of “Master of Gallant Festivals”. Lovely ladies and gallant gentlemen gathered on the shore of the sea bay strewn with flowers. They sailed to the island of Kythera – the island of the goddess of love and beauty Venus (identified with the Greek goddess of love Aphrodite), where, according to legend, she emerged from the foam of the sea. The feast of love begins at a statue depicting Venus and cupids, one of which stretches downward to lay a laurel garland on the fairest of the goddesses. At the foot of the statue are weapons, armor, lyre and books – symbols of war, arts and sciences. Well, love can really conquer everything!
The action unfolds like a film, sequentially telling about the walk of each of the couples in love. The language of hints reigns in the relationships of the heroes: suddenly thrown glances, the inviting gesture of a fan in the hands of a girl, speech cut off in mid-sentence … The harmony of man and nature is felt in everything. But it is already getting dark, the golden sunset colors the sky. The holiday of love is fading away, filling the carefree fun of couples with sadness. Very soon they will return to their ship, which will take them from the unreal world to the world of everyday reality. A wonderful sailing ship – the ship of love – ready to sail. Warm, soft colors, muted colors, light brush strokes that barely touched the canvas – all this creates a special atmosphere of charm and love.
And again I love the earth for the fact that the
rays of the sunset are so solemn,
That with a light brush Antoine Watteau
once touched my heart.
/ G. Ivanov /
Among the true masterpieces is Watteau’s painting “Gilles” (“Pierrot”), created as a sign for the performances of itinerant comedians. Gilles is the main and favorite character of the French comedy of masks, consonant with Pierrot, the hero of the Italian commedia dell’arte. A clumsy, naive creature as if specially created for constant ridicule and tricks of the clever and cunning Harlequin. Gilles is depicted in a traditional white cape costume and a round hat. He stands motionless and lost in front of the viewer, while the other comedians settle down to rest. He seems to be looking for an interlocutor who can listen and understand him. There is something touching and unprotected in the ridiculous pose of the comedian with limply lowered hands, with a fixed gaze. In the tired and sad appearance of the clown, the thought of the loneliness of man lurked,forced to amuse and entertain a bored audience. The emotional openness of the hero makes him one of the deepest and most significant images in the history of world painting.
In artistic terms, the picture is brilliantly executed. The ultimate simplicity of the motive and composition is here combined with precise patterns and carefully thought out colors. The ghostly white hoodie is painted with careful yet bold brush strokes. Shimmering pale silvery, ash-lime, grayish-ocher tones flow and shimmer, breaking into hundreds of trembling highlights. All this creates an amazing atmosphere for the perception of the deep philosophical meaning of the picture. How can one disagree with the statement of one of his contemporaries: “Watteau writes not with paints, but with honey, melted amber.”
Francois Boucher (1703-1770) considered himself a loyal student of Watteau. Some called him “the artist of graces”, “Anacreon of painting”, “royal painter”. The second saw in him a “hypocritical artist”, “who has everything but the truth.” Still others were skeptical: “His hand picks up roses where others find only thorns.”
The artist’s brush belongs to a number of ceremonial portraits of the favorite of King Louis XV, the Marquise de Pompadour. It is known that she patronized Boucher, more than once ordered him paintings on religious subjects for country residences and Parisian mansions. In Madame de Pompadour, the heroine is surrounded by scattered flowers and luxurious objects, reminiscent of her artistic tastes and hobbies. She reclines regally against the backdrop of lush, solemn draperies. The book in her hand is a clear hint of enlightenment and commitment to intellectual pursuits. The Marquise de Pompadour generously thanked the artist by appointing him first director of the Tapestry Manufactory, and then president of the Academy of Arts, giving him the title of “first painter of the king.”
Francois Boucher more than once turned to the depiction of frivolous scenes, the main characters of which were cutesy, shy shepherdesses or plump naked ladies in the form of mythological Venuses and Dianes. His paintings are replete with ambiguous hints, piquant details (the raised hem of the shepherdess’s satin skirt, the coquettishly raised leg of a bathing Diana, a finger pressed to her lips, an eloquent, inviting glance, sheep hugging the feet of lovers, kissing doves, etc.). Well, the artist perfectly knew the fashion and tastes of his era!
In the history of world painting, Francois Boucher still remains a magnificent master of color and exquisite drawing. Ingeniously solved compositions, unusual foreshortenings of characters, rich color accents, bright reflections of transparent paints applied with small, light strokes, smooth, flowing rhythms – all this makes F. Boucher an unsurpassed painter. His paintings turn into decorative panels, decorate the lush interiors of halls and living rooms, they call to the world of happiness, love and beautiful dreams.
