CHARDIN
TIMES
HIS
AND
o
BY
FURST
HERBERT
1)
5
GOWANS
ROBERT
OBERT
58
"
STREI
STREET,
OADOGi
OADOGAN
GRAY
ADELPHI,
STREET,
y\
1907
LIMITED
LONDON,
GLASGOW
AV.C.
PREFACE
little
This
of
is
not
It
all.
at
and
book,
a
the
as
has
I
"
bear
in
lecture
a
mind
hearers
that
delivered
peculiar
research,
only
concerned
nor
would
with
the
reader
the
its
will
primarily
a
audience
an
I
complexion.
not
in
even
is
that
say
"
it
to
April,
Gallery.
to
d'etre
if
form,
present
written
Art
venture
raison
a
appears,
in
lecture,
a
Whitechapel
Nevertheless,
it
it
originally
was
delivered
at
speaking,
which
as
words
few
a
for, properly
explanation,
it
needs
volume
was
with
I
of
sequently
con-
original
my
weary
technicalities
of
an
PREFACE
art;
interest
from
it
if
them,
without
of
due
and
give
modest
Chardin,
to
extend
this
little
hoping
the
James'
May,
to
1907.
he,
extract
and
subjects.
book
then
as
the
to
that
W.,
for
life
appreciation
Square,
into
succeeded,
humblest
HERBERT
St.
I
how
thanks-offering
of
them
alone,
teach
the
away
accomplish
work-a-day
from
pleasure
I
Chardin
can
from
If
to
was
them
to
fiction.
to
anyone,
poetry
take
transporting
fairyland
was
aim
only
to
themselves,
that
a
and
one
my
it
genius
will
of
a
his
FURST.
help
art.
LIST
1.
ILLUSTRATIONS
OF
J.-B.-S.
Chardin.
His
Own
Portrait,
Frontispiece
2.
Chardin.
J.-B.-S.
La
Pourvoyeuse,
facing
3.
Antoine
Watteau.
His
4.
Antoine
Watteau.
The
Antoine
7.
8.
from
18
Watteau.
L'Ile
pour
6.
Return
Antoine
L'Embarquement
La
Boucher.
20
Fontaine,
Cupid
Boucher.
FRANgois
19
Cythere,
de
Watteau.
FRANgois
La
a
-
21
Captive,
Marquise
-
de
23
Pompadour,
9.
10.
Jean-Baptiste
Greuze.
Sorrow,
Jean-Baptiste
Greuze.
L'Accordee
Noel
Nicholas
and
Cupid,
-
-
25
de
26
Village,
11.
12
17
Portrait,
Chase,
the
5.
Own
p.
Coypel.
Venus,
Bacchus
30
12.
LIST
OF
J.-B.-S.
Chardin.
ILLUSTRATIONS
A
Pastel
Portrait,
facing
13.
WillemvanMieris.
1 4.
Willem
15.
16.
17.
J.-B.-S.
J.-B.-S.
J.-B.-S.
(Le
van
Chardin.
Chardin.
Chardin.
Cook
Kalf.
Still
Still
Still
Life
-
-
-
19.
J.
Chardin.
Peeling
Chardin.
Dog
and
Sewing
At
the
21.
J.-B.-S.
Chardin.
Grace
22.
J.-B.-S.
Chardin.
Mother
J.-B.-S.
Chardin.
A
Boy
49
School,
an
-
50
Tub,
Wash
-
51
Meat,
before
and
50
Egg,
Son,
plating
52
-
with
53
Cards,
24.
J.-B.-S.
47
48
The
23.
-
Buffet),
Chardin.
J.-B.-S.
-
46
Life,
J.-B.-S.
20.
45
-
Life,
18.
-B.-S.
Life,
38
43
Fishmonger,
and
Still
p.
Chardin.
Peeling
Turnips,
53
-
When
Mr.
Aitken,
your
gallery,
asked
me,
here
and
to
ago,
about
for
that
is
but
thereby,
me
in
art
the
that
and
is
(or for
of
our
the
not
than
I
feel
manifestations
there
century
nothing
nothing
the
deeper
of
work
Jean-
Chardin.
to
appreciate
matter
of
vision),
doing
was
because
healthier,
Baptiste-Simeon
order
delighted
appealing,
more
sincerer
In
you
eighteenth
nothing
saner,
to
he
the
of
weeks
talk
was
also
all
amongst
few
a
honour
the
director
the
I
Chardin,
only
of
come
TIMES
HIS
AND
CHARDIN
it
is
that
his
any
necessary
pictures
objects
that
10
CHARDIN
we
should
In
the
and
second
and
in
first
senses
in
they
pass
perhaps
opinion
try
to
master's
me
Even
into
had
our
in
the
intellect
our
have
about
of
or
two
Chardin's
already consciously,
it.
permission
examine
no
one
of
unconsciously,formed
almost
work
privilege
examples
your
and
the
exhibition
the
doubt
"
I
reason
should
Firstly, then
it create
through
emotions,
pass
this
you
With
to
progressive stages.
have
art, and
in
develop
to
two
beautiful
very
an
them
TIMES
thoughts.
create
seeing
HIS
create
they
You
or
allow
mind
our
AND
so
will
why
this
strongly appeal
please you
What
now
emotions
so
well.
does
?
the
least
artisticallyexperi-
AND
CHARDIN
enced
and
Chardin's
in
and
and
from
the
peace
We
need
the
confess
and
and
not
are
colours
the
ask
we
costume
it were,
as
of
the
calm
a
these
the
of
meaning
that,
our
that
to
transported
streets,
stage-lights to
we
home.
a
of
this
need
not
of
ignorance
poeticalreference,
distracted
of
shade,
of the
turmoil
ourselves
unfamiliar
and
Beholding
of
or
subject,
is of
stillness
purport
this historical
nor
light
nature.
glare
to
from
and
of
senses
our
are,
din
the
or
of
on
soothing
the
great
colour, without
in
quiet
pictures, we
from
choice
contrasts
effect
their
the
Modest
canvases.
subdued
11
quietude emanating
unpretentious
violent
TIMES
noticed
have
will
restraint
HIS
by objects
our
another
sight.
or
Even
period
we
CHARDIN
12
AND
scarcely notice,
ring,
Well, that is
and
a
a
is
poet
of
sign that
but
is
also
to
us.
it is
great
only
not
:
wife, mother,
"
child, truth, innocence,
art
great poet
a
life
home
his
appeal
Chardin
great painter
the
its
sure
art.
true
TIMES
does
true
so
direct
so
HIS
harmony,
peace,
order, brightness,cleanliness,happiness,
such
art, and
his
much
creates
them,
that
the
of his
art.
of
this
by
the
the
man,
and
sweet
graceful
which
his
technique,
had
he
excellence
never
heard
had
just
discovered
Plate
2).
Attracted
of
harmony
ease
as
by
and
we
picture (see
the
is
fascination
suppose
of
qualities
qualities quite
means
form
us
these
the
as
Let
emotional
the
are
of
the
colour,
pose,
the
Pr.ATE
Original
m
the
tiurmitage.
l'huti).
J.-B.-S. Chardin.
La
Poukvoyeuse.
Hantstaens
2.
spirit
very
invisible
work
of
J.
173
and
conjecture
may
Frenchman
of
The
that
Louis
breathes
and
is
dead
again,
for
the
(I
am
the
state)
of
speech,
the
had
hearts.
throne
latter
late
the
famous
the
he
We
was
Louis
a
XV.
let
:
us
realise
to
try
XIV.
the
of
and
XV.
Louis
mouth
all
Chardin,
means.
personality of
on
and
of
time
moment
a
pause
what
of
time
it
that
now
the
the
something.
.
an
keep
to
examine
we
signature :
date
13
like
that
contrives
net
a
TIMES
home
together,
notice
a
HIS
AND
CHARDIN
"
were
teeming
king,
no
like
Friends
all
France
overpowering
L'etat
was
lain
;
in
whose
c'est moi
"
figure
mere
an
incubus
and
enemies
equally rejoiced,
with
hopes
for
a
14
CHARDIN
new
era,
of
AND
former
the
whose
master
a
HIS
glad
The
certainly
at
gulf
come
the
between
be
of
also
rid
of
the
aristocrats
of
The
and
Renaissance
Rococo,
the
bathos
and
exchanges
of
court
But
as
of
the
vulgar.
Great
to
been
nourished
Baroc.
For
pompousness
luxury
these
; fervour
impossible
the
and
the
at
personal
abhorred
had
to
stance
circum-
people
energy
was
which
ruled
wider.
in
luxury.
they
Titanic
the
and
pomp
tired
were
kind
any
but
the
sun-king's
the
comfort
did
aristocracy, glad
Versailles, sought happiness
ease,
era
and
wide
the
Meanwhile,
once,
and
rid
become
new
ruling
ominously
grew
be
to
had
service
tediously exacting.
not
TIMES
new
comfort.
the
on
dour
splenage
The
AND
CHARDIN
the
and
curtains,
over-elaborately
in the
of
boudoirs
hangings
covered
slim-legged
cabinets
one
filled with
and
prefers
the
religion,next
now
could
become
she
the
was
to
forced
a
the
of
to
a
ousts
age
painted
of
princes, had
of
Venus,
pay.
of
preacher
handmaid
of
and
selfish
a
to
herald
garb
and
thousand
and
once
the
afford
donned
a
with
chairs,
porcelain
mirror
Art,
picture.
tapestry-
characteristic
so
marble,
silken
sofas,
the
Frail
period.
bronze
with
and
knick-knacks
the
with
and
tables
are
atmosphere
hung
lounges
of
furniture
carved
furnished
and
heavy-
clamour
gilt
perfumed
forgotten
cosy
15
gilt columns,
with
halls
vast
TIMES
HIS
Madonna
leave
all who
who
had
when
Olympus,
AND
CHARDIN
16
who
had
age
assumed
the
in
of
gods
of
With
the
Louis
XIV.,
began
a
wild
in
the
cancan
deluge
a
Louis
XV.
when
they
nous
le
the
the
or
debauch
of
blood
Aristocracy
the
manifestations
the
deluge
had
deluge
the
XVI.
meant
"
in
apres
which
lost
his
guillotine.
dead,
of life
in
ending
cynical
Louis
is
mincing
and
:
their
under
carnival
the
marquise
deluge,"
head
monarque,
culminating
of
inoffensive
royal
grand
minuet,
uttered
of
little Parisienne.
with
first,
his
the
guise
great French
at
ened
awakto
the
in
of the
death
of
step
rich
place
newly
descended
the
gently
"
the
snub-nosed
dainty
a
her
more
Pantheon,
boudoirs
TIMES
immediately preceding
once
the
amongst
HIS
"
and
under
the
the
new
stony
Plate
Original in Earl Spencer's
Collection.
.
Antoink
Hts
Own
Watteau.
Portrait,
3.
pallor
of
world;
under
the
in
in
Napoleon
art
TIMES
HIS
AND
CHARDIN
the
17
political
icy rigidityof
the
world
David
belong wholly
"
to
Democracy.
Such,
Chardin
lived
before
a
of
character
the
insight
in
brothers
First
the
in
times
he
though
"
words,
rough
and
let
art
the
was
which
just
To
gain
see
who
now
were.
foremost
Watteau
us
was
died
great upheaval.
the
clearer
his
in
then,
:
Watteau.
painter
of
the
age.
We
have
(see Plate
here
portrait,which
shews
with
sickly youth
and
to
He
a
say
is
smile
of
whether
playing
us
which
it
is
3) his
slim,
a
what
some-
dreamy
it
is
cynical
B
eyes
difficult
or
hurdy-gurdy
a
own
sad.
in
CHARDIN
18
spite
of
Bach
and
AND
his
Handel.
Teniers's, he
Flemish
he
as
time
:
of
was
delicate,
the
it
child
health, of
his
pictures
nervous
temper
temperament,
as
much
as
typical
delicate
of
out
own,
a
such
art,
developed
entirely his
own
TIMES
glorious contemporaries,
Inspired by
art
HIS
an
his
of
his
nervous
breathe
of
the
times.
have
You
his
first
picture,
of
reminiscent
This
master.
I
which
the
a
however,
Interval
is
(see
one
from
to
the
represent
during
It
"
Chase
the
"
A
Plate
4),
here, is in
you
Collection.
entirely
Flemish
earlier
shewing
am
Wallace
"Return
which
the
other
Exhibition
this
in
seen
is
called
; it seems,
Rest,"
Chase."
"
An
In
Plate
l.
"
3
Plate
5.
"
a
20
CHARDIN
him
his
Fetes
AND
title
this
Collection.
and
is
yet
It
reality.
is
of Love,
Fountain
The
life force
itself
as
was
picture
more
the
there
sincere
said
of
mystery
appearances,
lyrical poet.
his
the
purely
a
Watteau
means.
from
are
add, love
we
love
was
a
a
This
followers, such
the
fountain
goat.
sensual
filled
more
of
as
Fontaine."
La
"
it
capering
refined,
of
sense
despite
the
truth
from
symbolised by
through
Never
to
happiness
called
tentious
unpre-
Wallace
near
removed
of
dreams
our
the
so
I
myself
6)
of
comes
far
as
for
des
called
commonly
gem
It
Peintre
Plate
(see
little
it
is
masterpiece, but
prefer
TIMES
Maistre
as
Galantes,
his
HIS
and
with
all
great and,
thoroughly
cannot
as
be
Lancret
Pl.ATE
Original m
tue
w
miace
I'lioto.
cuiieciiun.
Antoine
La
Watte
Fontaine.
a u.
6.
Hanfstaengl.
rLA
Photo.
Francois
Cupid
a
Boucher.
Captive.
H"
1 1
i
.
and
in
of the
"
Captive
a
"
the
typical originals I
of
his
of
most
and
art
and
Wallace
the
least
The
ones.
the
understood
sensual
which
invested
be
may
he
chosen
so
the
of all
know
it
good
qualities
of
seems
the
tionable
objecis
No
better
of the
much
Cupids
his
has
man
purely
female
admired
even
of
the
at
good
a
collection
seen.
fascination
Le
sure.
original
to render
art
"
be
to
Collection, where
representative
works
Louis
7) picture because
(see Plate
give
of
I have
:
this
to
of
age
Boucher's,
:
Cupid
ably
notice-
kind
another
is
characteristic
"
who
others
vein.
there
Bien-Aim6
21
similar, though
a
coarser,
But
of
less
Pater, much
painted
TIMES
HIS
AND
CHARDIN
form,
that
with
he
its
CHARDIN
22
AND
His
grace.
Cupids
HIS
typical,nearly
are
"
"
every
canvas
rather
his
from
blue
the
of
Boucher,
in
of
energy
only
he
master
painter,
of
For
of
he
was
allegorical
arts,
a
A
scene-
gardener,
landscape
;
and
Masters
Boucher
fashion-platedesigner ;
mantelpieces
with
everything.
applied
figures,clock-cases,
ness,
sad-
so
Old
great
was
a
every
vitality
painter
a
subjects :
Not
the
revived.
tones.
of
haze
a
lament.
the
different
and
each
whom
pale
a
Watteau's
Watteau's
silent
a
and
very
"
over
A
them.
prevailing notes
of
warmth
is
picture
not
the
are
colour-scheme
There
seems
with
swarms
unpleasant pinkiness
greenish
of
TIMES
he
vases,
made
a
china
chandeliers,
supplied
sketches
Plate
Originalin
the
W
I'hoto.
allace Collection.
Francois Boucher.
La
Marquise
de
Pompai
S.
HanfstaengL
CHARDIN
for
23
sculptors,ivory-workers, goldsmiths,
jewellers,
he
designed
costumes
he
painted
;
and
portraits
To
shew
painter, I
of
his
La
and
has
about
and
Marquise's elaborate
how
too,
her,
double
lips
by
the
the
without
his
his
with
folds
portrait
a
8). Observe
the
exaggerating
her
pictures,
of
one
delicacy
Observe,
flatters
as
Pompadour,"
mastered
the
ability
chosen
(see Plate
ease
and
mural
fStes galantes.
have
"
theatrical
classical
ceiling decorations,
of
TIMES
HIS
AND
tress
protec-
the
great
which
he
flounces
costume.
impudently
making
the
natural
Cupid's
any
traits
por-
he
eyes
size, and
bow
reference
of
to
truth.
However,
he
was
a
great craftsman,
CHARDIN
24
whom
from
a
so
painter
could
he
Joshua
Sir
as
blamed
him,
imagine, for painting
model.
Had
he
age
master
naivete'
above
of
a
Boucher,
a
few
minutes
craftsmanship
There
are,
it
is,
Giotto,
a
of
a
the
of
Boucher's
sufficient
praise,
the
in
living
different
a
greater
a
uncouth
the
like
child-
the
or
Angelico,
could
in
produce
in
they
course,
piece
their
time.
life-
Watteau's
they
importance
of
other
many
either
style, but
are
ability
able
more
well
may
meretricious
than
of
we
Fra
who
a
his
been
painters approaching
or
as
lived
serious
Beynolds
without
have
as
titterings of
worlds
he
might
;
and
conscientious
entirely withhold
not
though
TIMES
HIS
AND
are
from
not
the
Plate
Originalin
the
Wallace
I'hoto.
Collection.
Jean-Baptistb
Sorkow.
Greuze.
9.
Hanfstaengl.
CHARDIN
of
point
with
that
view
the
TIMES
HIS
AND
we
of
exception
25
are
taking,
one
man
"
Greuze.
Greuze
as
the
is
to-day principally known
painter
(see Plate
womanhood
beautiful,
is
in
or
but
an
its
of
painter-poet.
to
is
difficult
for
by
these
his
picting
de-
which
ing,
depart-
the
a
his
be
in
very
I
am
imagination
be
to
just
unmistakable
painter
to
the
that
may
to-day
for
even
good qualities as
simple,
in
entirely
Greuze,
of
beauty,
is
It
in
age
art
afraid,
the
in
just entering
It
abstract
brink
the
on
girl's soul.
the
delights
fascinating age
seems
and
girls'heads
pretty
He
9).
that
childhood
of
us
seeming
pure
are
and
shadowed
over-
insincerity,
CHARDIN
26
a
kind
of
however,
of
AND
his
sentimentality,
Plate
"
At
this
There
is
humour
bride
has
latter
kind
the
the
of
firm
the
in
a
all
?
unintentional
dispassionate
her
; it
sentiment
tearful
touch
holds
of
Wherefore
of
in
unusual
very
circle.
placed
and
it looks
bridegroom
the
in
groom's,
the
a
L'Accordee
and
bride
display
almost
Prodigals, or
of
event
family
"
his
glance
two
Nothing
simply
happy
of
an
occurrence.
is
first
a
return
case
any
tolled
ex-
Village Bride) (see
(The
10).
the
taste
Diderot
of
example
an
Village
like
that
the
mightily.
is
mawkish
suited
seeing
so
Here
de
have
age,
TIMES
morality, which,
canting
must
it
HIS
way
the
in
the
arm
grasp
in
which
marriage portion.
CHARDIN
Still
no
one
TIMES
HIS
AND
ally
that, individu-
deny
can
considered, his types
and
clever
very
writer
and
artistic, Pdchard
matters
on
calls
Greuze
Hogarth,
which
he
both
both
whereas
Philippics
towering
eye,
we
Greuze's
they
furious
eloquence
Greuze
the
preached
sentiment.
help
cannot
his
a
and
decided
certain
his
in
with
quivering lip, the
morality,
even
namely,
when
preached
of
mien
why
judge
and
Hogarth
with
rage,
tearful
humble
is
moralists,
preach.
not
But
for
sense,
a
artists
better
were
French
the
is in
painting
were
interesting
most
Muther,
the
truthful
are
characteristic.
A
did
27
That
distrusting
are
apt
to
good qualities,
ability
to
express
CHARDIN
28
AND
character,
and
rather
harshly.
too
There
in
the
artist
all
Boucher
also
we
the
but
Emphatically
To
Yet, able
count
must
earlier
men
omit
to
of the
not
to
of
this
century.
these
Greuze,
prototypes
"
Jacques
next
Boucher,
Chardin
And
is
art
eighteenth
art.
century
he
of
Fragonard
"
belonging
beginning
should
improvement
an
the
as
"
three
the
as
afford
can
Watteau,
are
only
colour,
survey
we
was,
and
David
Louis
any
Chardin.
of
he
though
after
on
so
pupil
a
of
artist who
eighteenth century
once
him
of
out
TIMES
delicacy
other
one
left
be
not
"
is
his
HIS
a
of
this
he
not
Chardin
no.
master
prove
is
"
all
is
typical ?
is
more,
ages.
the
task
I
have
this
myself
set
into
entering
merits
as
Chardin,
the
was
or
be
to
table
of
maker
youth
father
the
know
we
a
but
1699,
billiardOf
his
that
his
king.
little, save
him
gave
man.
cabinetmaker,
a
to
the
in
precise,
more
enlist
me
Paris
in
born
his
on
Chardin
with
son
before
dissertation
artist, let
an
29
But
evening.
a
sympathy
your
TIMES
HIS
AND
CHARDIN
commonplace
a
education, wishing
him
to
his
The
boy, however,
trade.
own
had
particular leanings
and
was
the
at
studio
of
Roi," who,
much
he
in
was
Chardin
last
as
too
the
Goncourt
at
poor
"
to
consequently
art,
enter
to
peintre
says,
that
in
towards
permitted
Cazes,
vogue
continue
time
afford
studied
was
du
very
though
models.
as
best
30
CHARDIN
he
could
AND
without
and,
nature,
HIS
reference
any
be
might
as
TIMES
expected,
eventually quitted Cazes'
much
wiser
Left
there.
there
him
than
to
would
had
his
the
into
have
his
not
not
'
entered
resources,
little
channel
right
had
own
been
genius
studio
he
when
to
directed
been
by
for
hope
piece
a
of
luck.
Noel
Nicholas
known
painter,
give
11),
merely
his
conception
that
developed
I
say,
then
and
gun
work
required
:
to
required
at
the
of
of
an
on
how
unlike
art
"
portrait
to
was
Coypel
He
certain
Chardin
to
was
assistant.
a
Plate
(see
Chardin
by
I
work
here
show
well-
a
whose
specimen
a
you
Coypel,
portrait,
paint
that
was
in
of
a
a
Plate
in the
Original
Louvre.
Photo.
Noel
Nicholas
Venus, Bacchus
Coypel.
and
Cupid.
Neurdein.
11.
All
is
hint
no
Montague,"
the
artisan's
son,
genius
this
he
suddenly
his
so
for
the
first
fact
;
of
rest
a
itself
dueller
monplace
com-
a
much
not
of
after
the
lost,
for
legend
a
The
a
him
reason
it, but
of
art.
outside
is
sign
disposes
scene
life,
his
brought
That
his
with
represented
although
shop-sign painted
a
be
it
that
honest
show
to
description
a
Chardin,
an
But
tious
licen-
a
notoriety in
won
would
connected
wounded
the
;
as
appears
laurels.
giving
dancer
the
of Boucher
of his father's
friend
there
for
suggestion of
for
guise
way
a
grand passion,
a
destined
was
in
for
of
craftsman.
hard-working
his
commonplace.
very
no
life like that
TIMES
HIS
of Watteau's
like that
La
sounds
this
There
"
AND
CHARDIN
32
duel
sign
:
surgery,
a
CHARDIN
the
surgeon
crowd
created
quite
much
The
that
next
annual
curious
the
Place
a
still life
former
employer.
another
similar
sign
wondered
the
is
in
at
exhibition
a
on
lasted
which
bought
pictures
the
the
only
pictures was
representing a bronze-relief,
was
that
surgeon
pictures
open-air
which
his
street,
Chard
of
several
Among
sign
conflux.
sudden
Dauphine,
hours.
two
the
up,
hear
we
exhibited
he
of
put
of the
cause
the
that
been
an
This
in
sensation
a
33
and
him.
unaware
already
the
attendance
dismay
himself, who,
at
in
the
to
had
HIS
around
excited
TIMES
AND
On
were
them
the
Loo, his
so
at
c
1728,
in
much
who
first
of
occasion
exhibition
Academicians
inspecting
Van
by
out
admired
had
of
been
mere
34
CHARDIN
AND
curiosity were
resolved
to
Academy
then
as
him
pressed
which
the
he
of
"
"
of
ten
pictures in
which
the
Academicians
by
one
work,
bon
they
"
same
Pierre,
the
The
"
et
"
Animaux
the
with
"
be
to
(by
dun
good
a
became
a
Koyal
de
une
sur
to
ground.
back-
Interieur
Fruits
"
entering
1728,
year,
on
room
ante-
the
Chardin
artist). Thus
and
that
had
in
took
flamand
Academician.
"
himself,
charmed
were
one,
peintre
this
and
Academicians,
which
Flemish
himself
kept
him
Presentation
displayed
and
and
story goes
Day
the
there
"
present
The
The
de
search
to
auspicious
pass,
in
and
they
join
to
member,
did.
he
him
invite
a
TIMES
delighted, that
so
in
went
HIS
"
were
sine
CuiTable
his
"
"
Diploma
pictures : they
still in
are
I
son.
long
on
think
I
personal
which
character
his
wife
parents
business
He
it
is
the
to
at
meet
enough,
but
being
support
her,
her
give
his
consent.
lapse
of
several
a
his
of
picture.
he
"
unable
father
years,
by
dance
then
When
France,
matter
whom
"
his
him
Greuze's
girl
of
nearer
in
a
more
remember
"
liked
made
for
chosen
I
man
is usual
As
was
"
the
too
but
trait
a
brings
hearts.
our
with
matters,
mention
should
a
linger
not
must
of
him
left
but
;
years
and
life, died
happy
one
four
after
wife,
his
1731
in
married
Chardin
the
35
Louvre.
the
to
TIMES
HIS
AND
CHARDIN
would
at
was
well
to
not
last, after
he
was
in
36
a
CHARDIN
AND
position to
fortune
in
who
then
objected ;
his
Another
One
the
picture
when
entered.
no
"
nice
Le
Bas
So
the
I
and
waistcoat
parted
Chardin
rule, however,
anyone
to
with
Chardin
to
visit
him
his
terms,
is
a
on."
waistcoat
picture.
in
like
"that
have
would
Bas
should
you
his
a
Bas, "that
come
with
on
Le
said Le
can
just
was
touches
picture ;
We
following
doubt," replied Chardin;
jolly
ously
gener-
character
friend
his
"
French
Chardin
day
By Jove,"
it."
father
he
his
finishing
jolly fine
buy
of
by
us
putting
to
the
as
glimpse
anecdote.
a
his
was
but,
ruined
girlwas
word.
afforded
is
it
TIMES
naively remarks,
kept
is
the
marry,
"
chronicler
HIS
not
his
As
a
allow
quaint
HIS
TIMES
which
the
AND
CHARDIN
garret studio, into
silvery-
with
daylight floated, resting
tenderness
37
pected
unex-
bottles,
on
pans,
sauce-
cabbages, fish, glasses, bread,
carrots, white
hundred
rise
his
His
the
to
effects
which
said
he
that
Nothing
was
an
he
did
the
inspirersof
modest
art.
dislike
legend
would
he
fact, and
not
he
the
kind
wish
the
little
likely
that
to
It
his
thumb.
He
true.
watch
to
trouble
picture.
story of
a
make
was
worker, and
and
every
of
secrets
anyone
labour
on
was
slow
exceedingly
not
with
gave
produced
disclose.
not
waistcoat, shews
was
visitors
that
painted
infinite
bestowed
for
ful
his wonder-
by trickery,the
of
all the
table-cloths, and
man
he
This
Le
Bas'
like
him
money,
in
further
the
sister
of
branch
life, and
as
Plate
(see
to
purchase
to
accept
his
he
to
of
Chardin
him
for
a
"
Lady
begged
as
a
interest
her
of
cited),wished
be
it from
later
up
specimen
Portrait
"
may
it.
gratitude
the
"
fancy
a
took
brilliant
a
12)
mention
pastel portraits (a
his beautiful
which
might
taking
which
art
TIMES
Victoire
who,
"
Chardin's
of
one
I
Madame
of
case
HIS
of which
proof
King's
in
AND
CHARDIN
38
her
token
of
in
his
work.
In
spite
of
Councillor
made
later, Treasurer
of
800,
then
residence
always
remained
used
to
the
1200
in
was
and
Academy,
received
he
a
sion
pen-
livres, with
the
Louvre),
singularly
"
say,
(he
success
to
;
official
He
his
Art
is
an
an
he
modest.
island,
AND
CHARDIN
I have
of which
He
line."
towards
with
fatherly in
was
He
"
like
these
difficulties
nothing
all."
at
great tragedy
(possibly)
drowned
He
had
lived
1744,
and
second
wife, who
The
last
him
Academy
He
this
hope
son,
Venice.
upon
There
in
died
great
was
of
in
the
never
will
art
value, and
has
realised
late, will produce
the
talented
who
too
manner
has
of
son,
my
coast
indulgent
of
produce anything
who,
his
who
difficulties
the
39
the
and
people
beginners.
never
he
skirted
only
young
realised
TIMES
HIS
is
hint
a
mention
of
of
of
his
his
old
age,
himself
in
married
again
happily
with
survived
a
in
his
him.
honour
bestowed
membership
of
the
Eouen.
1779
at
the
ripe
age
of
40
CHARDIN
his
80,
last
the
by
AND
illness
which
in
This,
certainly
all, as
For
one.
the
and
doubt
of
a
things
his
wide
to-day
with
in
his
the
his
rough,
from
received
career
have,
enjoyed
other
uncouth
and
unhappy
almost
whether
lifetime.
age,
one,
life,
I
acknowledgment.
would
circumstances,
his
was
an
had
his
much
very
during
of
him.
go, not
genius
painful
a
eventful
very
beginning
full
attacked
rough outline,
had
repeated
of
torture
had
not
which
often
too
the
clouded
neglect
his
subjects,and
after
of
upon
TIMES
somewhat
years
shadow
fallen
HIS
his
a
under
such
and
unpretentious.
similar
recognition
Viewed
manifestations
must
painter
have
almost
together
of
art
seemed
lously
ridicu-
To
be
century
much
was
everlasting
the
The
with
wrong
weakness
freed
from
it
wild
of
joy
of
liberty
of
the
monarch,
it
of
age
of
that
there
though
morally, it
the
is
age
of
fetters
misapplies,
that,
despotic
a
first
the
in
possession,
was
intellect.
keenest
regained
its
freedom
its
thought,
41
honour
said, that
it
certainly an
TIMES
HIS
AND
CHARDIN
of
action.
Let
and
us,
enquire
of
nature
If
his
not
a
to
into
deeper
the
life-work.
by
was
Chardin
thinker;
Chardin
to
return
little
a
Watteau
dreamer,
was
however,
by
was
philosopher
discover
but
to
the
complexities
understand
a
the
of
nature
a
nature
whose
aim
truth,
new
obvious.
life but
a
its
Not
sim-
42
AND
CHARDIN
plicity was
and
wonder
inanimate
court
truly observes:
In
other
he
"
respects
Le
before
years
painters,
Raphael,
which
may
scientific
what
paints."
he
hundred
a
like
two
be
his
receives
from
Botticelli,
Rubens,
within.
conceptions
of
distinguished
of
the
Dutch
the
conceptions
and
his
Nain,
on
are
"
like
based
throughout,
different
loves
without;
these
Ultimately
Gon-
Chardin
inspired
are
that
even
as
Michelangelo,
Watteau
art,
For
Velasquez,
inspiration from
is
Chardin,
him,
like
can
beauty
things.
words,
countryman,
it
how
"
daily
We
much
so
from
more
of
admiration.
extracted
nay
TIMES
source
a
understand
therefore
he
him
to
HIS
romantic.
the
life,
two
the
;..".-"
....
""
i~n.L
'
"
"
'"-
''
T"
'
AND
CHARDIN
44
Mieris,
Dutch
a
artist
wonderful
A
full
detail,
every
every
hair
in
vein
of
of
pheasant,
they
are
fish
seems
and
been
woman
the
look
iridescence
same
as
the
and
cat
surely
man
the
live
than
animated
the
figures in
as
a
bird's
moist
the
alive
much
fishmonger.
of
the
finish
minute
to
are
and
of
painted
been
more
stone
cat, cook
glossy
the
no
still life, and
sculptured
as
but
feather
scale
equally
;
every
plovers (I hope
have
given
curtain,
every
plovers), every
have
beings
and
to
elaborate
the
cabbage,
duck
of craftsmanship,
rabbits,
the
separately, and
to
in
teenth
seven-
National
the
most
thread
the
the
piece
the
on
TIMES
of
in
(it is
century
Gallery).
HIS
Is
the
plumage
slipperiness
Plate
Original
in the
Rijks
Museum,
Photo.
Amsterdam.
WlLLEM
VAN
Still-Life.
KALF.
14
Hanfstaengl
of
of
rabbit's
fair
the
Is
fur ?
skin
Mieris
for
has
one
relaxed
minute,
he
of
but
things,
also
not
of
whiteness
of
with
starched
a
not
degree
same
rough
compared
of
whiteness
the
downiness
the
be
to
45
blanket
soft
the
TIMES
Is
?
woollen
a
from
different
a
scales
fish's
a
texture
a
HIS
AND
CHARDIN
attention
his
has
the
given
attention
the
?
cap
same
to
all
kind
of
attention.
If
we
Plate
life
the
14),
notice
the
varying
paid
to
has
the
each
done
of
with
difference
at
the
kind
the
different
to
still-
this,
once
degree,
proper
justice
(see
Dutch
great
work
painter's,
Kalf's
van
compare
of
:
out
with-
he
has
attention
objects
their
we
"
he
essential
46
CHARDIN
AND
qualities
HIS
TIMES
expressed
as
their
by
surfaces.
Chardin
still
goes
the
refractive
made
and
15)
surrender
to
colour
to
and
"
Dutch
still
artists
lives for
The
the
Not
so
had
pleasure
:
suggestion Chardin
to
fix
groups
never
a
seem
together by
the
still-
painting.
tentiona
looks, in-
might
say.
Dilke
Lady
touch
some
or
invariably contrives
character
inanimate
to
of
one
As
"By
personal
of
is
tone
their
is, and
Chardin.
says
its
further:
painted
affected, as
with
admirably
part of
step
arrangement
;
the
neighbours (see Plate
a
mere
siders
con-
object
every
a
its
he
qualities of
which
atmosphere, by
further;
have
on
objects;
been
haphazard,
but
his
they
brought
always
Plate
15.
z
3
"
"
t
1
.-J
35
^
Plate
10.
look
or
if
as
that
presence
we
which
it
is
in
which
it
becomes
lively
It
the
his
worth
there.
The
be, but
16)
will
a
to
little
is
that
study
to
still-life of
as
simple
is
you,
as
of
supreme,
in execution
it
is
This
bread,
table
; but
filled
personality.
common
to
go
every
from
wine,
without
craftsmanship,
tell
loaf
work
to
lesson
apart
a
work,
object
Velasquezish
merely
felt,
while
an
almost
Chardin's
from
change.
subject
what
The
painter
human
the
Gallery, if only
Plate
is.
of
them
strong
visible
your
(see
can
it
is
National
this
of
simply
sense
So
pass
in
any
just left
back.
impression
the
47
TIMES
had
one
some
just coming
was
is
HIS
AND
CHARDIN
a
knife
is
with
not
glass
of
it
is
;
AND
CHARDIN
48
the
loaf, the
Chardin
very
found
appearance
as
picture
of
are
of
its
cat
in
this
in
in
his
difference
17)
Plate
Louvre,
the
made
aware
the
of
Think
picture, and
Mieris's
will
living
a
(see
presence.
van
such
invariably
introduces
immediately
we
of
is
as
the
why,
:
utensils.
he
creature,
at
itself
reveal
once
the
you.
How
much
gain
in
also
the
La
seen
interest
human
Let
element.
(see
original
pictures
they embrace
when
Pourvoyeuse,"
an
his
must
more
this
consider
"
the
studio
in
When
to
using
cleanliness
knife
the
been
glass has
doubtful
and
glass
had
TIMES
HIS
Plate
2) picture,
because
of
us
you
it
have
yourself
in the
Original
Louvre.
Photo. Neurdei;
J.-B.-S.Chardin.
Sin. i.-Life
and
Dog.
(Le Buffet.)
Plate
18.
pa
CHARDIN
50
AND
of
thoughts
which
have
People
the
became
somewhat
astonishing
badly
This
then
"
as
As
a
Cook
A
matter
of
egg,
still
in
her
hand,
which
taken
it
The
grace
he
that
knew
so
fact
in
critics
It
it.
is
of
many
his
carelessly kept,
catalogued.
charming
in
fact
is
she
catalogued
lemon."
a
is
holding
the
with
which
of
out
ture,
pic-
Liechtenstein
the
peeling
an
had
of
Vienna,
at
been
life the
19)
badly hung
sive.
expres-
;
wrongly
Plate
Collection
his
tired
and
hung
(see
work
been
have
pictures
of
are
always
his
end
towards
TIMES
they
not
of
appreciative
not
HIS
the
peeling
spoon
she
pan.
sauce-
and
charm
with
to
invest
these
Plate
Originalin
the
Liechtenstein
Gallery, Vienna.
J.-R.-S. Chakm
Peeling
an
Photo.
I\'.
Egg.
19.
Hanfstaengl.
Plate
20.
x
.
Plate
Original
in the
Louvre.
Photo.
J.-B.-S. Chardix.
Gkace
bekokk
Meat.
21.
Neurdein.
CHARDIN
52
little
AND
hands
that
the
lips that
the
dreamy,
in
wide-open,
Chardin
Or
look
at
this
one.
A
little
mother
is
school
a
:
and
thanks
an
for
chair,
a
Chardin's
cessories,
ac-
shuttlecock,
drawer,
open
is the
that
from
also
but
picture ;
genius
it
is
perfect idyll
a
the
study
brush
Chardin's
subtle,
his
of
love.
motherly
can
whom
needlework
and
with
infinitely more:
Apart
22)
boy,
with
to
;
Plate
boy
a
woman,
"
eyes
getting ready
just
table
hat
a
"
young
(see
battledore
a
kiss,
to
is master.
work-basket
cards,
something,
loves
mother
a
TIMES
at
grasp
this
other
a
HIS
and
the
subject
and
work,
matter
admire
broad
beauty
of
one
here
and
the
yet
com-
Plate
Original in
the
Liechtenstein
Gallery, Vienna.
J.-B.-S.
Mother
Photo.
Chardin.
and
Son.
22.
Hanfstaengl.
Plate
Onginal
in
the
Hermitage,
St.
Petersburg.
J.-B.-S.
A
Boy
playing
Photo.
Chardin.
with
Cards.
23.
Hanistaeiigl.
Plate
Original in
the
Liechtenstein
Photo.
Gallery, Vienna.
J.-B.-S. Chardin.
Peeling
TuRMrs.
24.
Hanfstaengl.
AND
CHARDIN
54
TIMES
characteristics
general
the
shews
HIS
of
method.
his
And
to
which
said
I must
here
I
referred
The
thirty.
Chardin
studio
of his
The
her.
friend
she
sum
Aved
livres.
to
high
was
the
friend
not
to
go
Aved,
by.
on
time
a
let
his
picture
such
usual
with
lady
paint
400
not
"
his
pressed
opportunity
an
seeing
the
amount
Chardin
"
in
a
offered
prices
that
goes
to
insufficient, whereupon
used
well
Aved
thought
up
was
when
Aved,
wished
who
entered
he
painting
was
was
took
story
day
one
It
never
until
figure painting
legend
a
earlier.
Chardin
that
over
mention
Chardin
ployed
em-
still-life, this
sausages
dish, sarcasticallyremarked,
"
on
I would
a
mind
not
it if it
doing
this, Chardin
himself
painting
figure subjects.
of
The
Surgeon's
with
Chardin,
150
his
life.
have
unpretentious
looking.
his
few
a
his
;
for
What
the
is
make
can
less
the
than
whole
were,
of
as
we
good specimens,
types
beautiful, scarcely
not
account
Signboard,"
I
as
subjects
in
seen
first
very
figures.
during
The
the
destroyed
something
pictures
to
But
his
far
so
exhibited
out,
have
to
is
that
crowded
was
are
anecdote
fact
"
picture,
by
thenceforward
this
the
by
easy
Nettled
devoted
truth
as
supposed
is
55
were
sausages."
painting
as
TIMES
HIS
AND
CHARDIN
there
of
women
good
even
then
to
tion
extraordinary fascina-
pictures
exercise
over
all who
CHARDIN
56
have
recognised
once
infinite
with
TIMES
it ?
Chardin's
with
sympathy
friend,
a
hirn
the
wanted
the
he
indeed
the
chemical
find
seen,
them
uses
with
had
but
;
us,
ample
food
It
is
painter
no
of
if
for
mere
of
with
than
pigments
be
"
facts
one
with
paints
so
"
Friend,
colours,
one
of
minded,
life
with
thought.
accident
daylight
and
more
we
of
knowledge
feeling." Plain, ordinary
furnish
Chardin
replied :
paint
of
sort
and
"
who
art,
what
out
properties
not
enquired
his
scientific
a
Chardin
does
one
any
thing
once
of
painted
had
him
who
secret
to
colours
to
HIS
life lived.
To
of
AND
was
that
of
sympathising
it is
an
a
this
templative
con-
nature,
accident
that
AND
CHARDIN
this
quiet
of
painter
and
The
Watteau,
teristics
charac-
two
natures
know,
we
was
dreamer,
and
a
sick
Boucher
was
a
stupendously
Neither
could
of
be
simplicities
enter
into
nothing
under
to
of
minds
those
who
lime-light
;
tistical,
ego-
truths,
life, would
their
the
two
but
Common
;
active
these
anything
a
that
at
man
self-centred.
the
Quiet,
self-centred.
as
Hedonist.
a
was
man
sympathetic
usually
natures
57
interdependent.
balanced,
not
are
philosophic
daylight.
are
well
TIMES
HIS
not
daylight
is
see
everything
of
their
own
personality.
Chardin
had
scientific
mind,
that
most
the
a
which
philosophical, a
taught
commonplace
him
things
58
CHARDIN
AND
are
full
The
atmosphere,
of
the
very
the
property
in
is
this
white, and
far
atmosphere,
little
good
is blue,
until
surrounding
bad
or
standard
objects
White
only
in
know
so
they
are
reds
take
and
to
a
the
and
greens
certain
as
of
great
sions
expreswhat
surroundings.
their
hue
as
measured,
be
to
will
mean
exactly by
mutually, just
react
red
or
undefined
are
know
Chardin's
objects
grey
we
we
"
all
by themselves, just
until
by
lives, has
together.
Green,
it.
permit
or
draw
we
our
linking
blue
us
surrounding light,surrounding
as
very
of
world
our
which
from
of
wonder.
surrounds
which
breath
TIMES
and
mystery
and
everywhere
HIS
we
our
degree.
reflect
are
and
affected
ings
surround-
AND
CHARDIN
Self-centred
and
and
we
are
works
a
of
be
or
faulty,
sensuality
heads
our
Blake;
of
a
a
;
at
and
much
We
of
the
extravaganzas
it, as
can
is
now
do
the
that
that of his
contemporaries.
our
to
us.
understand
so
are
ability
it for
art
us
we
before
Chardin's
was
give
find
to
ever
only
like
men,
and
day,
they
William
a
Chardin,
delighted
we
puzzle
we
art
a
the
beauty
had
discover
like
self
common
Unselfish
Beardsley.
of
; if that
Boucher
the
the
Michelangelo,
the
wonder
we
all is well,
regret
a
self,
possess
Watteau
we
of
truth
eyes,
to
over
amazed
so
happy
a
Velasquez,
the
worthy
59
their
us
be
Botticelli,a
a
Bubens,
give
men
self
if that
TIMES
HIS
why
different
In
from
an
age
of
AND
CHARDIN
60
activity,where
unparalleled nervous
seemed
fibre
every
order
old
the
fast
going
with
ever-increasing force,
alone,
in
of
of
like
has
Chardin
of
talent
to
add
ever
been
by
science
Printed
done
achieved
and
knowledge
at
the
I
whole
by
for
man,
wholly
and
conscience,
true
University
should
best
the
all
that
and
aptly
possession
conscience,
been
has
the
was
and
science
truth
secret, the
whole
the
that
says
the
of
if Goncourt
And
day.
every
Chardin
art, remained
guardian
unperturbed
an
of
domain
the
to
preparing
epoch
new
a
where
strained,
was
perdition,and
TIMES
HIS
by
love.
Press,
Glasgow.
that
man,
solely
true
O
h"
lu
m