01 Painting, Olympian deities, François Boucher's Hunting nymphs, with footnotes # 44

Attribué à François Boucher

Hunting nymphs

Oil on canvas

79 x 129 cm

Private collection

Sold for 150,000 EUR in June 2017

These two attendants of Diana, isolated in their verdant forest with their hunting spoils at their side, occupy today the main subject of a painting, which was certainly part of an overdoor panel transformed into an easel painting during the early 19th century.

The attribution to François Boucher is based on the proximity of this work with another painting by Boucher, now in the collections of the Legion of Honor Museum in San Francisco. More on this painting

François Boucher, (born Sept. 29, 1703, Paris, France—died May 30, 1770, Paris), painter, engraver, and designer whose works are regarded as the perfect expression of French taste in the Rococo period.

Trained by his father, a lace designer, Boucher won the Prix de Rome in 1723. He was influenced by the works of Giovanni Battista Tiepolo, Peter Paul Rubens, and his teacher François Le Moyne. Boucher’s first major commission was for engravings of 125 drawings by Antoine Watteau. After illustrating an edition of Molière’s works, he drew cartoons of farmyard scenes and chinoiserie for the Beauvais tapestry factory.

Boucher first won fame with his sensuous and light-hearted mythological paintings and pastoral landscapes. He executed important decorative commissions for the queen at Versailles and for his friend and patron, Mme de Pompadour, at Versailles, Marly, and Bellevue. He became a member of the Royal Academy in 1734 and then became the principal producer of designs for the royal porcelain factories, as well as director of the Gobelins tapestry factory. In 1765 he became director of the Royal Academy and held the title of first painter to King Louis XV.

During the 1740s and ’50s Boucher’s elegant and refined but playful style became the hallmark of the court of Louis XV. His work was characterized by the use of delicate colours, gently modeled forms, facile technique, and light-hearted subject matter. Boucher is generally acclaimed as one of the great draftsmen of the 18th century, particularly in his handling of the female nude.

Although immensely successful, Boucher lost his artistic preeminence toward the end of his life; overproduction, poor translations of his paintings into tapestries, the growing sterility of his own work, and the emergence of Neoclassicism caused him to lose favour, both with the public and with such leading art critics as Denis Diderot. More on François Boucher

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