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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
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Pastiche, Fashion, and Galanterie in Chardin's Genre Subjects - Looking Smart (Paperback)
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Pastiche, Fashion, and Galanterie in Chardin's Genre Subjects - Looking Smart (Paperback)
Series: Studies in Seventeenth- and Eighteenth- Century Art and Culture
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Pastiche, Fashion and Galanterie in Chardin's Genre Subjects seeks
to understand how Chardin's genre subjects were composed and
constructed to communicate certain things to the elites of Paris in
the 1730s and 1740s. This book argues against the conventional view
of Chardin as the transparent imitator of bourgeois life and values
so ingrained in art history since the nineteenth century. Instead,
it makes the case that these pictures were crafted to demonstrate
the artist's wit (esprit) and taste, traits linked to conventions
of seventeenth-century galanterie. Early eighteenth-century Moderns
like Jean-Simeon Chardin (1699-1779) embraced an aesthetic grounded
upon a notion of beauty that could not be put into words-the je ne
sais quoi. Despite its vagueness, this model of beauty was drawn
from the present, departed from standards of formal beauty, and
could only be known through the critical exercise of taste. Though
selecting subjects from the present appears to be a simple matter,
it was complicated by the fact that the modernizers expressed
themselves through the vehicles of older, established forms. In
Chardin's case, he usually adapted the forms of seventeenth-century
Dutch and Flemish genre painting in his genre subjects. This gambit
required an audience familiar enough with the conventions of
Lowlands art to grasp the play involved in a knowing imitation, or
pastiche. Chardin's first group of enthusiasts accordingly were
collectors who bought works of living French artists as well as
Dutch and Flemish masters from the previous century, notably
aristocratic connoisseurs like the chevalier Antoine de la Roque
and Count Carl-Gustaf Tessin.
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