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After Francois Boucher, Odalisque19th Century
19th Century
$8,595.38
£6,334.76
€7,200
CA$11,765.19
A$13,177.64
CHF 6,856.76
MX$160,041.47
NOK 86,926.32
SEK 82,021.46
DKK 54,796.70
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About the Item
Second half of the 18th century, follower of François Boucher
Odalisque
Oil on canvas, 75 x 125 cm
Framed, 124 x 152 cm
In the 18th century, French artist François Boucher did not depict women as classically beautiful Venuses, but as muses with provocative, erotic, and unequivocal poses. A painter in the court of Louis XV and a favorite of the Marquise de Pompadour, François Boucher was both criticized and admired. Among the French master's most famous works is certainly The Odalisque: lying on her stomach and with her legs spread, the woman in Boucher's famous painting wears nothing but a delicate blue ribbon in her blond hair. Undaunted in her nudity, the woman rests on a chaise longue and her gaze is drawn to something outside the frame of the painting. The model in this celebrated painting would be Marie-Louise O'Murphy, a young daughter of Irish immigrants born in 1737 who worked as a seamstress in Paris. After meeting Boucher in 1751, Marie-Louise was hired by the artist as a model. She later became the mistress of Louis XV. Boucher created two versions of this scene: one at the Alte Pinakothek in Munich and the other at the Wallraf-Richartz Museum in Cologne.
In 1752, Boucher painted Marie-Louise again, copying his own work with some modifications. This time he chose a darker palette and added an oriental incense burner in the lower left corner instead of the open book. The artist responsible for our painting, certainly a follower of Boucher, combines different elements of the three versions of the Odalisque, resulting in an original composition that does not slavishly imitate the innovative models introduced by the master.
François Boucher was born in 1703 in Paris, the son of a draftsman with a passion for furniture and decorative arts. His artistic training was under the painter François Lemoyne, whose most notable works are the murals of the Château de Versailles. In 1723, Boucher received the Grand Prix de Rome from the Royal Academy of Painting and Sculpture. During his lifetime he spent four years studying in Italy, where he was inspired by the paintings of the late Renaissance Italian masters Titian, Tintoretto and Veronese. Upon his return to France, Boucher tackled all genres. He designed works for the Manufacture des Gobelins in Beauvais and the Manufacture de Porcelaine in Sèvres, was decorator of the Opera and later director of the Royal Academy. Boucher's mastery undoubtedly lay in his ability to paint human forms and precious fabrics such as silk. In 1742, Boucher was appointed Premier peintre du Roi. He also received special support from the Marquise de Pompadour, who posed for him on several occasions. François Boucher became the most sought-after painter of the mid-18th century. His works have caused a stir in the art world not only in France but throughout Europe.
François Boucher's nude paintings certainly did not go unnoticed by his contemporaries. In 1761, Denis Diderot commented on the painter's canvases with a mixture of admiration and disapproval: "What colors! What a variety! What a wealth of objects and ideas! This man has everything but the truth." Later, the Goncourt brothers would sum up Boucher's profile in these terms: "Elegant vulgarity, that is Boucher's signature. [...] To put it bluntly, and daring to use a slang term from the workshops that paints his talent somewhat harshly: he is a rogue." His success was accompanied by strong criticism, including that of the realist painter Millet, who discovered his paintings in Parisian museums: "I even had a very pronounced revulsion for Boucher. I could see his science, his talent, but I could not understand his provocative subjects and see his sad women, without thinking how poor in nature this was. Boucher does not make naked women, but little undressed creatures: they are not the shapely display of Titian's women, proud of their beauty to the point of flaunting it, to the point of showing themselves naked, so confident were they of their power."
- Creation Year:19th Century
- Dimensions:Height: 29.53 in (75 cm)Width: 49.22 in (125 cm)
- More Editions & Sizes:75x125Price: $8,595
- Medium:
- After:(After) Francois Boucher
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216356182
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