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Francois Boucher: His Palette
Francois Boucher: His Palette
Francois Boucher: His Palette
Ebook108 pages10 minutes

Francois Boucher: His Palette

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This study Art Book contains selected and annotated color plates of paintings from François Boucher.

François Boucher was French Rococo painter, engraver, and designer, who best represent the frivolity and elegant showiness of French court at the 18th century. Boucher the painter was no less prolific or varied as a draftsman. Drawings played a massive amount of roles in the preparation of paintings and as designs for printmakers, as well as being created as finished works of art for the growing market of collectors. For his major canvases, Boucher followed standard studio practices of the time, working out the overall composition and then making chalk studies for individual figures, or groups of figures.
LanguageEnglish
PublisherArron Adams
Release dateApr 8, 2016
ISBN9788892590953
Francois Boucher: His Palette

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    Francois Boucher - Arron Adams

    Francois Boucher

    His Palette

    By Arron Adams

    First Edition

    *****

    Francois Boucher: His Palette

    *****

    Copyright © 2016 by Arron Adams

    Foreword

    François Boucher (1703 – 1770) was a French painter, a proponent of Rococo taste, known for his idyllic and voluptuous paintings on classical themes, decorative allegories representing the arts or pastoral occupations, intended as a sort of two-dimensional furniture. He was perhaps the most celebrated decorative artist of the 18th century. He also painted several portraits of his illustrious patroness, Madame de Pompadour.

    He was born in Paris, the son of a lace designer Nicolas Boucher, who gave him his first artistic training. A painting Boucher exhibited at the age of 17 was admired by the painter François Lemoyne, whose apprentice Boucher became, but after only three months he went to work for the engraver Jean-François Cars. In 1723, Boucher won the elite Grand Prix de Rome, although he did not take up the consequential opportunity to study in Italy until five years later, due to financial problems at the Academie Royale. On his return from studying in Italy in 1731, he was admitted to the Académie de peinture et de sculpture as a historical

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