They caused French art to stray away from the frivolous, fancy, and wealthy Rococo style and focus more on the natural and the simple. Jean-Baptiste-Siméon Chardin, Saying Grace, 1740. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre. The focus on the average family as well as the depiction of a mother caring for her children really highlight the aspects of life and of society that Rousseau argued we should return to. Carefully balanced composition, soft diffusion of light, and granular impasto characterize his work. Change ), You are commenting using your Twitter account. National Gallery of Art, Washington, D.C. In Saying Grace, the viewer is welcomed into the home of a modest family and witnesses a mother and her two daughters who are about to dine. 3202. He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities. Voltaire argued that the development of science and the improvement of human rationality and society would lead to the salvation of humankind. ( Log Out / From Musée du Louvre, Jean-Siméon Chardin, Saying Grace (La Benedicite) (1740), Oil on canvas, 49.5 × 38.5 cm INV. Change ), Jean-Baptiste-Siméon Chardin: Saying Grace, Henry Ossawa Tanner: The Thankful Poor | Art History & the Art of History. On the other hand, Rousseau argued that the arts, sciences, and society in general had corrupted humans and that we should return to our “original condition,” and that feelings and emotions come before academic and societal development (as expressed by Rousseau’s following quote: “To exist is to feel, our feeling is undoubtedly earlier than our intelligence, and we had feelings before we had ideas.”). He admired Jean-Antoine Watteau, though their sensibilities were drastically different. At a time when history painting was considered the supreme classification for public art, Chardin's subjects of choice were viewed as minor categories. Not much is certain about his training, other than the time he spent with Pierre-Jacques Cazes and Noël-Nicolas Coypel; historians believe his career ignited upon his entry to the Royal Academy of Painting as a highly regarded member. Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. Pendant to The Diligent Mother. I really like this painting and the simplicity of life it embodies. Jean-Baptiste-Siméon Chardin was an 18th-century French painter. ( Log Out / More Artwork by Jean-Baptiste-Siméon Chardin, The Sculpture Gallery of the Felix Meritis Society (1806 - 1809), The Artist’s Sitting Room in Ritterstrasse (1851). In this scene, the mother and the older daughter supervise the younger daughter giving thanks to God before the meal, a pious ritual. ( Log Out / The detailed still-life accessories in the background and their “wear and tear” indicate the family’s humbleness. Courtesy National Gallery of Art, Washington, D.C., Gift of Mrs. John W. Simpson, 1942.5.1 In 1740 he was presented to Louis XV, to whom he offered Mother Working and Saying Grace. Jean-Siméon CHARDIN (Paris, 1699 - Paris, 1779) Saying Grace. Chardin was admired by his peers not only for his distinct approach, but also for his ability to manipulate paint to evoke luminosity and tranquility. ( Log Out / Voltaire and Jean-Jacques Rousseau were two of the leading figures of the French Enlightenment, with contrasting beliefs. During his life and after, Jean-Baptiste-Siméon Chardin was venerated as a master of genre painting. Chardin’s primary subject was “la vie silencieuse” (or “the silent life”)—humble, everyday scenes and vignettes. Change ), You are commenting using your Facebook account. Chardin, Jean-Baptiste-Siméon: Soap Bubbles Soap Bubbles, oil on canvas by Jean-Baptiste-Siméon Chardin, probably 1733–34; in the National Gallery of Art, Washington, D.C. 93 × 74.6 cm. Jean-Baptiste-Siméon Chardin, Saying Grace, 1740 In Saying Grace , the viewer is welcomed into the home of a modest family and witnesses a mother and her two daughters who are about to dine.
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