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艺术家:Jean-Baptiste-Simeon夏丹
2011-06-19
引自世界名画苑
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Jean Siméon Chardin was an artist of the early 18th century. 琼西缅夏丹是一位画家早期的18th世纪。At this time the predominant form of art was Rococo, mostly associated with merriment and pleasure. 在这个时候主要是洛可可艺术形式,主要是联系在一起的欢乐和愉快。Paintings of elegant carnivals, erotic nudity and romantic trysts were abundant, while reality seemed all but absent from the world of art, which is precisely what makes Chardin’s works stand out among the rest of the eighteenth century. 绘画精美的嘉年华和浪漫的约会,色情裸体十分丰富,但是在现实似乎离开世界的艺术,它正是使夏丹的作品脱颖而出在其余的十八世纪。His still-lifes are plain and unembellished, and depict the real world that he saw around him, rather than a Rococo fantasy.他是still-lifes平原和unembellished,描绘真实的世界,他看见在他身边,而不是一个洛可可式的幻想。
Chardin was born in 1699 in Paris to the family of a master-carpenter. 夏丹1699年出生在巴黎的一个家庭成员master-carpenter。He lived his entire life in the district of Saint-Germain-des-Prés, where he was also christened at the Church of Saint-Sulpice. 他住他的整个生命的地区,在那里他也Saint-Germain-des-Pres在教堂Saint-Sulpice命名的。He left the city only twice: once to work at Versailles in 1729, where he took part in making the scenery for a fireworks display held in celebration of King Louis XV’s newborn son, and once to help at Fontainebleau in 1731, where he assisted in the restoration of sixteenth-century Italian frescos in the gallery of François I.他离开了这座城市只有两次:一次是在1729年在凡尔赛的工作,在那里他参加做背景举行庆祝焰火表演,在国王路易十五的新生儿子,曾于1731年在枫丹白露帮助,在那里他协助恢复在十六世纪的意大利壁画的长廊里弗朗索瓦。
Chardin’s father and younger brother, Juste, ran the family business, which mostly consisted of making billiard tables which they supplied to the Royal Household. 夏丹的父亲和弟弟,Juste,经营家族企业,主要包括使桌球桌,他们提供给全体皇族。Chardin was sent to study with Pierre-Jaques Cazes (1676-1754), a presently little-known artist, from whom he learned how to paint. 夏丹被派去学习Cazes Pierre-Jaques(1676-1754),目前是鲜为人知的艺术家,从他身上学会了如何画画。By 1720 Chardin was assisting Noël-Nicolas Coypel (1690-1734), one of the renowned Coypel dynasty of artists, by painting still-life accessories in his canvases. 到1720年Noel-Nicolas夏丹正在协助Coypel(1690-1734之一,Coypel王朝著名艺术家的作品,给他的油画画配件。In 1724 Chardin was accepted into the Academy of St Luke, a rival to the Royal Academy, though lacking the latter's royal patronage.在1724年被接纳融入学院夏丹的圣卢克,对手缺乏皇家学院,虽然后者的王室资助。
Even though today he is best known for his still-lifes, Chardin started his artistic career by painting subjects from everyday life. 即使他今天所知的是他still-lifes,开始了他的艺术生涯夏丹由绘画题材由日常生活。One of his earliest works is a large shop sign which he painted for his father’s friend, a surgeon and apothecary. 他的一个早期的作品是一种大型的牌号,他画了对他的父亲的朋友,一个外科医生和药剂师。It is speculated that he was inspired to paint it by the success of Watteau’s Gersaint’s Shop Sign (1720). 也可以推断出他受到鼓舞,把它漆成的成功的牌号华铎的Gersaint(1720)。Watteau was one of the foremost artists of the time and his painting was widely admired in Paris. 华铎被世界第一流的艺术家,他的画被广泛地赞美在巴黎。Chardin, as a budding young artist of 20 years, could have easily been inspired by this piece.夏丹初露头角的年轻艺术家,20年,可能是受这首乐曲。
In the 17th Century the Royal Academy of Painting and Sculpture was essentially the dictator of fashion for all artists. 在17th世纪的皇家学院绘画和雕塑基本上是时尚的独裁所有的艺术家。It had established a hierarchy of genres in painting, classifying subjects from the Bible, history and literature as part of the ‘grand genre’ because they were considered moral or ennobling. 它建立了一个阶层的文体分类科目在绘画中,从圣经、历史和文学的“大流派的一部分”,因为他们被认为是道德或鼓山提升。All other subjects, including still-lifes, portraiture and landscape, were categorized as ‘petit genre’, which was deemed to be much inferior. 所有其他的主题,包括still-lifes写照、景观,被分类为“流派”,就是派被认为是差得多。As a result, artists were likewise classified according to the subject they painted, and Chardin, who was a ‘petit genre’ painter, found it an uphill struggle to be recognized and gain lucrative commissions. 作为一个结果,艺术家们同样被按照主题画上,夏丹,他是一位可爱的画家的类型,发现一场艰苦的斗争被认可和获得丰厚的佣金。In fact, with his second-rate formal education and no conventional art training, he is said to have felt a severe sense of inadequacy throughout his career. 实际上,随着他的第二流的正规教育和传统艺术培训,据说他感到一种严重不足的感觉在他的整个职业生涯。Even in his older years, he was acutely upset by the criticism of a fellow artist, Jean-Baptiste Marie Pierre (1713-89), who said that Chardin had never practiced the ‘grand genre’.即使在他老年时,他非常沮丧的批评的家伙的艺术家,针对1713-89玛丽皮埃尔(),谁说夏丹拥有从不练习的“大流派”。
Bibliography:参考书目:
Chardin by Pierre Rosenberg. 夏丹由皮埃尔•罗森堡。Yale University Press, 2000.耶鲁大学出版社,2000。
The Age of Watteau, Chardin, and Fragonard: Masterpieces of French Genre Painting by Colin B. Bailey, Philip Conisbee, Thomas W. Gaehtgens. 华铎的年龄,夏丹的杰作,弗拉戈那尔:法国风俗画由科林b·贝利,Conisbee、托马斯·w·Gaehtgens菲利普。Yale University Press, 2003.耶鲁大学出版社,2003。
Boucher and Chardin: Masters of Modern Manners by Anne Delau. 夏丹的主人,鲍彻:由安妮Delau现代礼仪。Paul Holberton Pub, 2008.保罗Holberton酒吧,2008年。
Chardin by Marianne Roland Michel. 夏丹的罗兰米歇尔离异。Harry N. Abrams, 1996.哈利艾布拉姆斯。1996年,n .
Jean Simeon Chardin 1699-1779 by Dorit Hempelmann, Margaret Klinge-Gross. 琼西缅1699-1779 Dorit夏丹的Hempelmann,玛格丽特Klinge-Gross。Hatje Cantz, 1999.Hatje Cantz,1999年。
