Fran�ois Boucher (1703-1770) has suffered a curious fate: to have been so identified with the French Rococo as to have lost his visibility as an artist in his own right. Rethinking Boucher reclaims the artist's individuality, revealing not only the diversity of his talents but also the variety of visual and intellectual traditions with which he engaged.
Part one, "The Various Boucher," examines the artist's identity in relation to his portraits and self-portraits, his ingenious genre scenes, and his overlooked religious paintings. Part two, "The Unexpected Boucher," focuses on the network of social and cultural contexts in which the artist functioned, including the commercial print market, the theaters of Paris, and the contemporary textual explorations of the exotic. The final part, "The Enlightened Boucher," discusses Boucher's work as a vehicle for Enlightenment visions of the body, whether conjured by Denis Diderot and Jean-Jacques Rousseau or Madame de Pompadour, Boucher's most famous patron.
Part one, "The Various Boucher," examines the artist's identity in relation to his portraits and self-portraits, his ingenious genre scenes, and his overlooked religious paintings. Part two, "The Unexpected Boucher," focuses on the network of social and cultural contexts in which the artist functioned, including the commercial print market, the theaters of Paris, and the contemporary textual explorations of the exotic. The final part, "The Enlightened Boucher," discusses Boucher's work as a vehicle for Enlightenment visions of the body, whether conjured by Denis Diderot and Jean-Jacques Rousseau or Madame de Pompadour, Boucher's most famous patron.
