Francois Boucher Essay Examples & Outline
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The age of colonialism brought together wide range of themes and subjects from parts of the world that were somewhat new and unfamiliar to Europeans. Among the many artists, Francois Boucher (1703-1770) was one of the artists that were highly associated with putting an effort for a mature Rococo style and spreading its style throughout Europe (the Metropolitan Museum of Art).
The main reason or the strategy was that Boucher worked with all kinds of medium in all kinds of genres, and La Toilette (1742) is one of the examples of the artwork that shows the influence of colonization. His La Toilette shows the influence of colonization with chinoiserie. The display of the subjects in his art as voluptuous could have been influenced by the contact of the west with places such as Africa. The piece of art is more of a reflection of the interactions that the French artist had with the colonial nations.
The art has different influences. There are influences from the contemporary art that have also been strewn with the miscellaneous pieces of Chinese artistic influences. However, the art still is laden with different authentic details (Hyde and Boucher, 78-98). The mix of the authenticity and the external influences creates a relatively convincing effect that the artist was still influenced by the artistic influences in his homeland. The chinoiserie is vivid in the aspects that are included in his paintings. The painting is of a woman being handed a cap by the servant. The influence of the art is majorly associated with the Chinese art.
The inclusion of different porcelain in the portrait is indicative of the influence that the colonization of the far lands had led to the development of a lasting effect on the artistic influences in the west (Stein, 598-604). For instance, the artist was involved in the development of different pieces of art including the design of porcelain. The artistic influences that the artist had developed were inspired by the chines in that there is different exquisite porcelain that could only be imported from the Chinese colonial lands. The decision to include various pieces of porcelain in the art could have been influence by his fascination with the porcelain and clay works (Hyde and Boucher, 78-98).
The artists indicate a strong appeal for the chinoiserie. The ways of the west were different from those of the eastern nations. The majority of the artist influences in the figure are more influenced by the captivating effect that the chinoiserie had over the western nations (Stein, 598-604). Boucher identified this need and was capable of copying and interpreting the chinoiserie stylistic orientation. In the painting, Boucher displays the women as if they have the Asian faces as opposed to the western born structure. He also displays the gayness and voluptuous nature of the east. The painting indicates the delicacy and vivacity.
In as much as he does not stray from the western ideas of class and refinement, he focuses on the display of the painting in an authentic manner. One of the sources of authenticity in the painting is the ability of the painter to portray the Chinese costumes and physiognomies (Stein, 598-604). The ability creates the feeling that the painter as in china when completing the piece of art.
The inspiration to paint the subjects of the painting in the ways of the Chinese comes from the travels from the major explorers in the west who later wrote books about the perceptions and the impressions that they had had of the Chinese. There is also an inspiration to draw the painting in the given light that come from the products that the travelers brought back from their travels. Boucher was an enthusiastic collector with varied products from china to inform his paintings. His ability to collect objects and understand their influences made him create a more authentic feeling in his paintings, which was far removed from the artists of the previous periods.
Boucher is capable of creating inventive and surprising art. He integrates the art from the interactions of the west and the east to create the feeling of idiosyncratic identity. He is also capable of using the different informational identities to develop the fashion and luxury (Stein, 598-604). The living room in which the painting is drawn has the classic western luxuries of the fireplace and servants.
The fashion in the painting comes out in form of the dressing and the tasteful furnishing. This creates the feeling of the developments that were made in the western world from the interactions with the other parts of the world due to colonization. The artistic work of Boucher indicates the acquisition of tastes and insights that were absent in the previous times before the interaction of the western nations and the colonial lands.
The selection of the items to include in the painting indicates the influence of the western interaction with other parts of the world (Rosenblum, 23-99). For instance, the servant is handing the woman a cap in a room filled with decorative porcelain. All the elements that are included in the painting are indicative of the dedication of the people to new concepts of luxury. He paints luxury in the view of the collectibles that one has from the interactions with the external nations (Hyde and Boucher, 78-98). The influence of the external contact has come in to change the perceptions of the west in terms of what defines culture. New concepts in interior décor are deemed to the epitomes of luxury living.
The painting includes the depiction of the yellow screen, which conceals an image of a woman in a bow. The inclusion of the pieces of porcelain and the imported screen point to the contact of the west and the other lands due to the process of colonization. Foreign but exquisite insights inform the new perception of luxury. Other insights in the photo that hint at the interaction with the outside world include the wood choice, which could be imported from other parts of the world (Stein, 598-604). The black wood could be African teak or ebony from the interactions of the French and the African colonies.
Hyde, Melissa Lee, and François Boucher. Making up the rococo: François Boucher and his critics. Getty Publications, 2006.
Rosenblum, Robert. Transformations in late eighteenth century art. Vol. 206. Princeton University Press, 1967.
Stein, Perrin. "Boucher's chinoiseries: some new sources." The Burlington Magazine (1996): 598-604.