Chardin . from copying theirmasters compositions and studies. The copying of designs, based on liter-ary conceptions and knowledge of theclassics, could not possibly be either bene-ficial or attractive for a youth who lackedthe education needed for understandingthese subjects, and who was, moreover,deeply interested in the life that cameunder his personal observation. The tasksset to him by Cazes must have appearedto Chardin like the drudgery of acquiringproficiency in a hieroglyphic language thatconveyed no definite meaning to him. Still,Chardin made such progress under his firstmaster that N
Chardin . from copying theirmasters compositions and studies. The copying of designs, based on liter-ary conceptions and knowledge of theclassics, could not possibly be either bene-ficial or attractive for a youth who lackedthe education needed for understandingthese subjects, and who was, moreover,deeply interested in the life that cameunder his personal observation. The tasksset to him by Cazes must have appearedto Chardin like the drudgery of acquiringproficiency in a hieroglyphic language thatconveyed no definite meaning to him. Still,Chardin made such progress under his firstmaster that Noel Nicolas Coypel engaged PLATE VI.—LA MERE LABORIEUSE(In the Stockholm Museum) M La Mere Laborieuse, which is the companion picture to LaGouvernante, was first exhibited at the Salon of 1745, where itattracted the attention of Count Tessin, who immediately commis-sioned the replica which is now at the Stockholm Museum. Thepicture was engraved by Lepicie in the same year in which it wasfirst CHARDIN 51 him as assistant to paint the details insome decorative over-door panels represent-ing the Seasons and the Pleasures of theChase. In Coypel Chardin found a master ofvery different calibre—a teacher after hisown heart. The systematised knowledgeof the principles adopted by the late Bolo-gnese masters, rules of composition and ofthe distribution of light and shade, werecertainly of little use to him when, on be-ginning his work in CoypePs studio, hewas set the task of painting a gun in thehand of a sportsman. Chardin was amazedat the trouble taken by his employer, andat the amount of thought expended by himupon the placing and lighting of the painting of this gun was Chardins firstvaluable lesson. He was made to realisethe importance of a comparatively insignifi-cant accessory. He was shown how itsposition would affect the rhythm of the de-sign. He was taught to paint with minuteaccuracy whatever his eye beheld. He was 52 CHARDIN told, perhaps for the fi
Size: 1409px × 1774px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorkonodypaulgpaulgeorge, bookcentury1900, bookdecade1900
