"url": "https://www.topofart.com", "@type": "WebPage", Diana Resting after her Bath 1742 Oil on canvas Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: Diana Resting after her Bath (detail) , 1701-1750 , French Form: painting , mythological Oil Painting ID::. After adding the print to the shopping cart, in its screen, you can check the price of the shipping. Boucher used this thin mythological guise to explore the beauties of the female body. Autre

- Choisir - François Boucher (Paris 1703-1770) and Studio Two Nymphs of Diana resting after their Return from the Hunt signed 'Boucher 1748' (lower right) oil on canvas 29 7/8 x 38 1/8 in. Pornographie enfantine

Rococo. The painting is a masterpiece in the true classical manner; the technique is not too obvious, all the values are harmoniously balanced, and the elegance of the drawing and the purity of the forms are more important than the more sensual charms of colour. This print depicts the goddess Diana and a nymph resting after a bath. Défini ainsi, ce mot n'a pas la connotation péjorative qu'on lui prête parfois de nos jours. Light emanating from the left sensuously highlights every curve and line of both women’s figures; Diana’s nipples are daubed a rosy red, the sort of naughty detail Boucher loved. The scene is a masterpiece of guiltless voyeuristic pleasure, which is exactly what Boucher intended: the painting was first exhibited at the Salon of 1742 as part of a series of small sensuous works destined for collector’s private cabinets. Diana was also a symbol of chastity and Boucher plays up her innocence (almost to the point of imbecility) as a foil against charges of impropriety: unaware of the spectator or her potential affect on one, her nudity is innocence itself. Diana Resting after her Bath 1742 Oil on canvas, 56 x 73 cm Musée du Louvre, Paris.

Provenance Reginald Vaile; his sale, Christie's, London, 23 May 1903, lot 23 (as François Boucher).

It was the first Boucher painting to enter the Louvre since the early 19th century, thus marking the end of a long period when the artist's work, which the revolutionaries judged too frivolous, was out of favor. Browse thousands of oil paintings like this in our library and commission top quality reproductions. Incitation é la haine raciale 23 notes . This painting is unquestionably Boucher's masterpiece. "sameAs": [ The source of this problem is tumblr.com. "@context": "https://schema.org", Apologie de crimes contre l'humanité

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Add to cart. Boucher was a master of playful eroticism. JavaScript must be enabled for certain features to work. Expertly drawn, the young women move with an exquisite delicacy – note the gentle point of Diana’s feet, the languid turn of her body. "ratingValue" : "4.95", },

1741 Francis Hayman: Samuel Richardson, the Novelist Surrounded by his Second Family, London, Tate, 1742 William Hogarth: The Graham Children, London, National Gallery. Exhibited in the Salon of 1742, Diana Leaving Her Bath belongs to a series of small paintings destined for collectors' cabinets. In 1742, he painted “Diana Resting after Her Bath” which is considered to be Boucher’s masterpiece, according to Gustav Lundenberg who was a member of the Royal Academy in Paris.

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His works for the French court were designed to titillate; yet they always maintain a light, almost innocent tone, regardless of the numbers of nubile girls and cavorting couples that fill his canvases. Contact us Contact Client Service info@christies.com. Her hunting dogs drink from a stream in the background as the young goddess reclines on silky drapery in the middle of lush woods, wearing nothing but a crescent moon, pearls and ribbons in her hair.

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