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Notes on video lecture:
Seduction in Boucher's pastoral paintings
Notes taken by Edward Tanguay on February 12, 2017 (go to class or lectures)


Choose from these words to fill the blanks below:
women, XV, landscape, veins, bones, crude, oral, occupation, 1748, coiffed, kissed, dangerous, Lemuel, refined, vagina, Diderot, conventions, sexual, downfall, Mannlich, Rococo, love, Basket, comic, literature, golden, degenerate, together, Pompadour, touch, canvas, Favare, painting, nobility, pendant, pantomime, flute
Boucher's pastoral paintings
a pair
two works that were created to be displayed
hung on either side of a medallion portrait by John Baptist of Louis XV
both the paintings and the medallion sculpture are from
the height of King Louis 's time as king
the epitomize aspects of 18th century French art
defined by its lightness of , sense of beauty, its eroticism and connections with themes of love
Louis XV was known as Louis XV The Well Loved
not just by his people but by
Madame de
he had several mistresses, she was the favorite
single most important female patron of the arts in France
her favorite painter was Francois Boucher
first painter of the king
director of the academy of French Painting and Sculpture
group of artists
during the time of Louis XIV came together to establish the rules of and sculpture and how artists should be trained
Boucher plays with
a part of art
relied on skilled users
had learned how to decode painting in connection with their ideals of sociability and behavior
pastoral paintings
finished in 1748
closely connected to pastoral and plays
plays in the 18th century did not only take play in official theaters
also in private theaters of the
worked with Favart
reformed the opera
took the bawdy and ribald performances of sexuality in , and connected them with refined codes of sociability that appealed to the nobility
with the idea that the more refined audiences would start coming back to the theater
and Boucher grew up near each other
by the 1740s they were collaborating
Boucher came up with the ideas which he painted which then Favart then turned into plays and performances
Boucher also did costume design and scenic backdrops for pastoral plays
many plays derived from a tradition of pastoral literature that goes back to the 17th century
a salon culture dominated by women and the tastes of women going back to Louis XIV
by Louis XV, women set many of the standards of taste
visual arts
literature
performances
in the discourse of behavior
pastoral plays
no dialogue
familiar songs in the background telling what people were doing
set in a age somewhere in a landscape
usually a simple love story between a shepherdess and a shepherd
gives her a lesson
girl asleep, young man who delivers a basket of flowers from the shepherd
Favart's wife was often the main lead
but not always as the shepherdess but the shepherd
quite different from many other eras
Portrait: Leçon de flute
these are not real shepherds and shepherdesses that work in the fields
but idealized
wander around the with their sheep and think about nothing but love
the sheep are always perfectly
the shepherdess is not engaged with her sheep
she is learning a lesson from her shepherd who is attempting to woo her
next to them a fountain of
connection with aristocratic way of life
the nobility defined themselves by not working
by the mid 18th century, they also had no real military function anymore
they spent a large amount of their time pursuing leisure which was their primary
one aspect of that leisure was the pursuit of love
a highly codified way of wooing a woman
the crudeness of sexuality is turned into something that is highly refined and coded
at the foot of the woman is a crown of flowers
one meaning is that she gives this to her lover when he wins her heart
also an erotic meaning of the
the flute
a reference to the male penis
her being taught to play it is a reference to her being taught to perform sex
not understood by everyone but only those in a small elite circle
Boucher's conventions on gender
male figure is seated above the female figure
, student of Boucher
had students make many drawings which Boucher signed and sold them off
Boucher corrected the way students were painting the female body
the female body should be painted as if it had hardly any at all
the idea is that they're curved, soft lines
nothing that's hard or breaks the eye in a way as it moves around the
female has a porcelain white color
male figure has more of a sun- look, more flesh tones
The Mysterious (1748)
female and male are different along the customary markings
the man is not the shepherd but the rustic delivering the basket
man is very masculine
ripples and
fleshy and physicality that we don't see with the shepherd
he is character
Boucher was often criticized when pastoral scenes were shown in salons
the way these coded meanings were understood, was a kind of pastoral versions of themselves, i.e. the upper echelons of society
when they were shown at general salons they were criticized and seen as
where art exhibitions take place every two years in Paris
the perfumes of the fish mongers wife mixed with the perfumes with the ladies of the court
showing sexuality as having any consequences
you can learn to play a flute, but there is no suggestion that that can lead to any sort of moral
the male didn't look masculine enough
less friendly critics
Denis
founding member of the encyclopedia
didn't like Boucher's work
thought it was moral
in a later salon, Diderot, says, "when am I going to be rid of these pastorals"
women would come and linger in front of these painters and would not understand that there was a price to be paid for this kind of activity
it was a misinterpretation of signs and symbols meant for certain class of society
Vocabulary:
coif, v. to style or arrange someone's hair ⇒ "When analyzing Boucher's painting Leçon de flute, one must remember that these are not real shepherds and shepherdesses who work in the fields, but idealized shepherds and shepherdesses who wander around the landscape all day with their sheep and think about nothing but love, and therefore the sheep which gather around them in the paintings are always perfectly coiffed." |
People:
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######################### (1721-1764) A member of the French court and was the official chief mistress of Louis XV from 1745 to 1751
|
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######################### (1703-1770) French painter, draughtsman and etcher who worked in the Rococo style, known for his idyllic and voluptuous paintings on classical themes
|
Spelling Corrections:
eschelons ⇒ echelons
porcelin ⇒ porcelain
pasturals ⇒ pastorals
Ideas and Concepts:
François Boucher's conventions of gender in painting, via tonight's Sexing the Canvas class: "Christian Mannlich, a student of Boucher, tells us that Boucher often corrected the way his students painted the female body. He told them that the female body should be painted as if it hardly had any bones at all. The idea is that female bodies are curved and have soft lines. Nothing that's hard or breaks the eye in any way should interfere as the eyes moves around the canvas."
