'C' is for 'Chardin' and 'child creating card castle' and also for 'cocked hat'. Chardin creates a portrait of the solemn son of cabinet-maker M. Le Noir, that at once captures a specific moment in time, but also speaks to us all across time and place. The card castle is in danger of imminent collapse, reminding us all of our mortality. The child is dressed (as was usual in 1741) as a minature adult who will soon have to 'put away childish things'. He wears a fine frock coat (recognisable by its turn-down collar). His unpowdered hair is tied up in a ribbon to form a 'queue' (French for tail). His 'tricorn' (three corner) hat is 'cocked' (turned up) at three sides. This fashionable form of male headgear held sway for most of the 1700s, with a fine beaver hat being the most expensive status symbol. #Chardin#nationalgallery#historicaldress#decodingdress#christiesedu
Jean Baptiste Siméon Chardin, Boy Playing with Cards, 1740, Oil on canvas, 82 x 66 cm, Galleria degli Uffizi, Florence.
Jean Baptiste Siméon Chardin, 1699-1779, was a French painter who was received into the French Academy in 1728. For the 18th-century Academy, history painting was most esteemed, followed by portraiture, landscape, genre and still life. Chardin proved to be a great master and naturalist in the bottom two of the Academic hierarchy. Nevertheless, the quality of Chardin's naturalistic painting in the 17th-century Dutch tradition was exceptional and his success as a painter of animals, birds, fish, and fruit was immediate. The critic Denis Diderot wrote in 1763 that a still life by Chardin "is nature itself; the objects free themselves from the canvas and are deceptively true to life." Chardin has continued to be greatly admired, inspiring many 19th-century artists, such as Manet and Cézanne. The idle play of children was one the favorite themes of Chardins genre paintings. In this canvas from 1740 he drew inspiration from the 17th-century Dutch genre tradition, for both the format and the subject. Boy Playing with Cards owes its subject to the moralising vanitas paintings of the 17th century. The verses under the engraving of the picture, published in 1743, stress the insubstantiality of human endeavours, as frail as a house of cards. But the painting tends to undermine the moral. Its rigorously geometric and stable composition gives an air of permanence which contradicts the fugitive nature of the boy's pastime, and of childhood itself. Chardin's 'magic accord' of tones envelops the scene securely in its warm and subtle light, at once direct and diffused. There are four variations by Chardin on the theme of a boy building a house of cards.
🃏”Boy Building a House of Cards” , 1735 by French artist, Jean-Simon Chardin (1699-1779) 🃏 May be @waddesdonmanor_nt 🃏🃏🃏 A young lad, absorbed in the tricky act of balancing a playing card on top of its fellows. 🃏One puff of breeze or buttery fingers and the whole structure could go flying. 🃏The narrative, speaks of a moment of pause. 🃏One in which both the boy in the painting and the rapt spectator don't dare draw breath for fear of spoiling everything.🃏 Taking a closer look, you may notice that the boy in the picture is not a silk-suited aristocrat squandering an afternoon in listless play. 🃏Instead, his dark apron and dull clothes identify him as a servant who has been sent into the velvet-swagged salon to clear up after a gaming party, from the night before. 🃏
Perhaps, he has set aside his duties to enjoy, if not only for a brief moment, the privileges of a carefree childhood. 🃏🃏🃏 #chardin#frenchartist#figurativeart#figurativeartist#servant#houseofcards#artoflooking#artoftheday#arthistory#artobserved#loveart#arttalks#artblogging#wassesdonmanor 🃏🃏🃏
Watch out - broken glass! In reality, what appears to be a famous Chardin print of a kitchen maid, set behind a piece of shattered glass, is a trompe-l’-oeil painting by Etienne Moulinneuf, a skilled academic painter from Marseilles whose works are rarely seen in public collections.
Purchased by @lacma in 2007, this playful picture is currently on loan to the @national_gallery London for its thematic exhibition ‘Monochrome: Painting in Black and White.’ The show brings together paintings produced in black, white and shades of grey from the Middle Ages until now, exploring the techniques and reasoning behind the restricted palette of choice.
Moulinneuf’s picture amusingly references an historical tradition of grisaille paintings that emulate a different medium, in addition to acknowledging the growing fascination with Newtonian optics and vision - captured in the transparency and translucency of the broken glass. Issues of originality and reproduction are raised into question also. As J. Patrice Marandel, former chief curator of European art at LACMA, recounts in his recent book ‘ABECEDARIO: Collection and Recollecting’, the picture caused a stir when a visitor reported that the protective glass had broke on a painting.
Etienne Moulinneuf, Back from the Market (La Pourvoyeuse), after Chardin, c.1770, oil on canvas, credit: Museum Associates/LACMA
Chardin at the National Gallery
Jean Chardin (1643-1713 AD) famous traveler Travel to Tabriz: about 350 years ago In his travelogue, he has taught about Tabriz.
ژان شاردن(۱۶۴۳ـ۱۷۱۳میلادی) جهانگرد مشهور
سفر به تبریز : حدود ۳۵۰ سال قبل
درسفرنامه خود به وصف تبریز پرداخته است.
🔻سفر به تبریز : ۱۶۷۳ میلادی.
🔸ژان شاردن در سال ۱۶۴۳ میلادی، در شهر پاریس متولد گردید. او در سفر به ایران لقب «تاجرشاه» را از شاه عباس دوم دریافت کرده بود.
شاردن نخستین فرانسوی بود که در سفرنامه خود از فردوسی و شاهنامه و برخی دیگر از شاعران ایرانی و آثار آنها یاد کرده است
🔻شاردن در سفرنامه خود پیرامون تبریز می نویسد:
«تبریز چه از حیث عظمت و جمعیت و چه از لحاظ مکنت و تجارت اولین شهر این مملکت است. این شهر بارو و حصاری ندارد و به ۹ محله منقسم است. پانزده هزار خانه و پانزده هزار دکان دارد و اگرچه عماراتش عالی نیست ولی بازارهایش از سایر بلاد آبادتر و سقفهای آن بلندتر است. آمد و شد مردم در این بازارها و کثرت مالالتجاره دلیل بر کمال آبادی شهر است. بهترین بازار که به شکل هشتی بنا شده و محل جواهریان است قیصریه نام دارد. سیصد کاروانسرای دایر در این شهر هست و کوچکترین آنها گنجایش سیصد نفر مسافر را دارد. سرتاسر شهر پر از صنایع ابریشم و قماش زرگری است و عالیترین دستاوردهای ایران در تبریز تهیه میشود.
لوازم زندگی و معاش در تبریز فراوان است و شخص با خرج کم در تبریز در نهایت آسودگی میتواند زیست کند و معروف است شصت نوع انگور در باغهای تبریز به عمل میآید.» "سفرنامه شاردن . ترجمه اقبال یغمایی .انتشارات طوس"