How did French painting develop in 17 and 18 centuries?

France17th century was called the Louis XIV era, and the monarch who ruled Europe did not forget to establish a unified official art world. The Art of Serving the King and His Elite combines ancient and modern thoughts, Catholicism and secular thoughts, which makes the realistic description present a mythical face. It advocates the classical spirit and shows the characteristics of solemnity, nobility and love for order. Most of its main painters went to Italy to observe and study, and even lived for a long time. They took Greece and Rome as models and were influenced by Karachi eclecticism, Caravaggio's sharp contrast and Venetian color.

Vouet (1590— 1649) has lived in Italy for 13 years. After returning to China, he became the chief painter in Louis XIII, and created a large number of murals in French Champagne, Saint-Germain and Fontainebleau. We can see his bright and rich colors, grand verve, beautiful circular rhythm and harmonious pleated shape from the existing Louvre's Abundance, Temple Worship and Temple Sacrifice.

Pu Sang (1594-1665)18 went to Paris to study sculpture and painting, and settled in Italy at the age of 30. 1640 was invited to return to France to paint Fontainebleau Palace and Saint-Germain Cathedral, and served as the chief painter of the palace, leading the work of decorating the palace. However, the hostility and uncooperative attitude of the French painter finally made him angry. Works such as Sabine Women's Plucking, Moses' Salvation and Poet's Inspiration make us feel that this classical master not only advocates ancient art, but also is good at discovering the beauty of nature. Obey feelings and respect theory; There are both skillful skills and high enthusiasm. The Arkady Shepherd takes a stone tablet as the center of the picture, and the inscription on it points out that this is the legendary paradise. A few shepherds who try their best to recognize handwriting stand or kneel, and the circular composition makes the human body and elegant scenery form a poetic and harmonious world. The most outstanding work of Pushan in his later years is the historical landscape painting "Four Seasons", in which "Winter" specially cleverly selects the scene of the great flood in the Bible, and the people struggling to escape strengthen the cold and tragic atmosphere. This painter, regarded as the most orthodox, is actually the bravest innovator. His picturesque and meaningful painting style and lofty ideological realm embodied in his paintings are worthy of being a model for all painters of that era.

Le Sueur (1617-1655) makes it hard to believe that he has never been to Italy. In fact, he has never left France. Perhaps because of this, his works have the kind of simplicity and nature that makes people feel intimate and accessible. The gathering of friends has the charm of Caravaggio in atmosphere rendering, and Sanying has the beauty of Karachi. Delacroix put it well: "It is extremely difficult to imitate Leksell's elegance and simplicity, just as it is to imitate the charm and integrity of Pushan's composition. "

Lebrun (1619-1690) played an unparalleled role in creating a unified artistic style in France. At the age of 65,438+05, he went to the studio of Wei Ai, and at the age of 23, he went to Rome with Susan. Under the guidance of the above two masters, he quickly mastered the essence of painting techniques of that era. His masterpiece "Minister Seger" is magnificent. The people in the painting are proud of the spring breeze, elegant, gorgeous in costumes and mounts, with two rows of followers on the side of the horse scattered and varied in dynamic expressions. Whether it is the visit of the little shepherd or the great Alexander and poros, it shows that the painter is good at dealing with scenes with many people. While serving as the chief court painter, he also led the Academy of Fine Arts and the Gobelin Tapestry Factory, presided over the decoration of the mirror hall of Versailles and the Apollo hall of the Louvre, and established an official style based on Pushan classicism and drawing nutrition from Italian Baroque art.

In the twilight, LeBron, who was full of honor, was eclipsed by the appearance of Mignaxd (1612-1695). As soon as the rising star from Ran Ran came back from Italy, he became famous for his portraits of women and large-scale zenith paintings. His painting Paradise in Valdegrass Church has more than 200 figures, which is the most important zenith painting in France in the17th century. The Virgin of the Grapes is beautifully written, and the dignity and purity of the characters are not much different from Raphael's.

Compared with the above painters, Valentine (1591-1634) and Ijatour (1593-1652) were more influenced by Caravaggio. Valentine went to Italy when he was very young. He painted thick shadows in black and put musicians, guards, gamblers and gypsy women in it. The rich flavor of life and the beautiful and simple impression aroused in people's hearts are unparalleled in fortune tellers and concerts. The Trial of Solomon vividly depicts King Solomon, a frightened and pale mother, an extremely frightened baby and a brave warrior who pays close attention to the reactions of two women. Latour takes candlelight and torch as the core of artistic expression, full of originality and mystery. Its composition is often surprising, and its technical simplicity is also surprising. Madeleine in front of the lamp, with its thoughtful face and hands holding a skeleton, represents a duel between good and evil, which is particularly vivid in the dark. St. Joseph, the carpenter, highlighted the carpenter's tilted head and hard hands with a big perspective, while drowning everything else in the shadow. The almost flat face of a child with a lamp makes the picture extremely strange and simple. The widow Elena takes care of San Sebastian is one of the painter's last works. The blue robe seems to vibrate in the fiery red tone. The concise and general artistic treatment and the diagonal arrangement of light and shade and dynamics make the atmosphere tragic to the extreme.

Representatives of French painters who are more faithful to tradition and not influenced by Italy should push Jean Payne (1602- 1674) and the Lernein brothers (Anthony,1588-1648; Louis,1593—1648; Matthew, 1607— 1677). Champagne was born in Brussels, 1628 settled in Paris and became the painter of the Queen. His portraits are rigorous, powerful and vivid, which makes the upper class flock to them. The portrait of a man and painter's daughter magically displayed in the Louvre inherits the tradition laid by Chloe and her son. The Lenan brothers lived on their father's farm when they were young, and they had a deep understanding and special feelings for the countryside. They often paint together, and their signature is Renan. Among them, Louis has achieved the greatest success, and his rough peasant image and simple rural environment exude charming charm. Although "Peasant Rice" and "Nongjiale" have no colorful colors, they are very touching. The simplicity of the technique and the sublimity of the painter's feelings can be said to be unparalleled except19th century realism masters Millay and Koro. Blacksmiths and hay wagons (paintings may also be made by Anthony) randomly arrange light according to the needs of the picture, similar to Rembrandt's Night Patrol.

Lorrain (1600-1682) lives a quiet life in Italy, and his paintings are as peaceful and clear as others. The open sea level always leaves a huge position for the sky, while the close-up always has a backlit seaside, Roman buildings, ships and people. Cleopatra landed in Tulsa, Ulysses returned Chris to her father, and Boarding in S? o Paulo all had the same color. The quiet and beautiful pictures were pleasing to the eye.

/kloc-The leading position of French painting in the 0/8th century was recognized because its painters grasped the spirit of the times. Stepping into a prosperous Europe requires polite communication with women, smart and humorous manners and a more relaxed artistic style.

The erotic art known as rococo dominated the first half of the18th century. It aims at the enjoyable life of men and women in the upper class, depicting naked or semi-naked women and exquisite and gorgeous decorations. Louis XV's mistresses, Madame de Pompadour and Madame Dubali, dominated the court, making beautifying women an overwhelming artistic trend. On the one hand, it is inevitable to feel flashy, pretentious and lacking in divine power; On the other hand, the lightness and elegance of French make painting completely free from religious themes. Pleasant, intimate, comfortable and luxurious scenes have replaced the painful martyrdom of saints, thus taking a big step forward in reflecting reality. Its main representatives are Eduardo, Boucher and Fragona.

Flower (Wateau, 1684— 172 1) came from a poor family when he was young, and once made a living by sending paintings to art dealers. Fa Zhou Xi Taidao was a turning point in his life. It depicts a group of lovers leaving the mythical island of love and returning to real life. The gestures of each character are endowed with symbolic meanings related to love. The painter controls his feelings with reason and uses wonderful colors in his brushwork, thus establishing a typical image of a delicate and slim woman. Most of Eduardo's works are about drama, but Ge Sang Painting Shop is an exception. In order to "move your fingers", this masterpiece was painted in a few half days as the signboard of his friend's painting shop on Notre Dame Bridge. There are people from different classes in the painting, the seller is busy and earnest, and the buyer is dedicated and vivid. It reflects one aspect of social life so truly that when people see the oil paintings in the box, they will inevitably think of the end of the rule of the "Sun King". Another painting by Eduardo the Clown was originally used as a signboard. The protagonist in the painting is an actor of a mobile troupe. He was dressed in white, and his inner sadness was hidden under his numb appearance. From this painting, we can understand why Eduardo's light music art is always slightly sad, and his deep sympathy for the actors and all the artists who make fun of people is the reason why Eduardo thinks highly of other rococo painters.

Boucher (1703- 1770) is called a child prodigy. After returning from Italy, he was highly appreciated by Madame de Pompadour, and successively served as a professor at the Academy of Fine Arts, chief court painter and director of Gobelin tapestry factory. It was really smooth sailing. He is skillful, quick in painting, and has many large-scale works. He can use bright colors and novel techniques to paint the theme of classical mythology beautifully. The female body painted in Bathing Di Anna is bright and dazzling against the background of the scenery. The technique of weakening the contrast between light and shade and strengthening the sense of color transparency in sketch greatly inspired the later impressionism. The Naked Woman (Miss O 'Morfi) is bold and emotional, and the bright silks and satins on the bed are also most suitable for Louis XV's court, which is enough to represent the rococo style. When taking myth as the theme, Boucher tends to abuse rose and sky blue, and the pale and bright red characters also float on the surface. However, if there is a real object in front of him, his picture suddenly appears full of vitality, which is completely different from the authors of Lunch, Scenery with a Mill and Venus and Vulcan.

Fragona (1732— 1806) is the most cared-for painter of Mrs. Barry, who is good at showing off his pen with charming figure and luxurious clothes. The girl in the painting "Swing" deliberately kicked off her shoes to pick them up for the man who swings for her, which is the peak of pleasing women. The composition of "Bathing Woman" is abrupt, and the female body seems to rotate rapidly with clouds, trees and rivers, which is unique and fascinating. Tybalt Falls is an abrupt and unique creation. The flash and richness produced by the strong light shining on the clothes on the balcony can even be compared with the landscape painting two centuries later. However, Fragona is good at portraits, and the thick colors and flying strokes of large films are quite different from traditional techniques. Paintings like Diderot, Reading and dancer Gimard are still popular for their bold and unrestrained skills.

Lemoine (1688 ~ 1737) and Waber (Coypel, 1688- 1772) followed the style of Eduardo and Boucher, and decorated many palaces and palaces in Paris with fairy murals and pink female bodies. The former's "heraclius and Orpheus" and the latter's "Portrait of the Old Man" both show the rigor of sketch and the boldness and composure of painting.

The representative figures of the transition of French portraiture from17th century to18th century are Rigaud (1659- 1743) and Laguerre (1656- 1746). Ligo painted a standard portrait of the king, and his masterpiece Louis XIV of France was magnificent. Raggelli El took pictures of the upper class. His masterpiece The Painter and His Wife and Daughter vividly expresses the intimacy and harmony of his family. Natir (1685— 1766), who is famous for her portraits of women, can paint beautiful ladies, such as Countess Daishan. Sister Na's son-in-law Tocque (1696— 1772) can make ladies more charming. Queen Leginska is a rare masterpiece among court portraits. IjaTour (1704-1788) and Perron Neu (1715-1783) are not only comparable to them in oil painting, but also make the rhyme of toner painting reach an unprecedented level. Their common characteristics are keen sense, subtle tone, good at capturing instant expressions and beautifying objects on the basis of reality.

With the fierce attack on Rococo style, the beautification of art gradually gave way to the reappearance of life. Different from decorative paintings and historical paintings, genre paintings and still life paintings oppose laissez-faire, return to nature and oppose affectation with rationality. Creuse (1725-1806), who created a new genre painting, exhibited "Engagement in the Country" in the salon of 176 1, which was a great success, and it truly showed the most important events of French rural families. In the painting, Diderot admired the deference of the young man when he gave the betrothal money, the inner joy and shyness of the girl, the attentive attention of the notary, the closeness of the younger sister and the jealousy of the older sister, and thought that "the people in the painting are in their places." Greuze attached great importance to the choice of themes, such as the curse of his father, the return of his punished son, broken pots and broken falls, etc., all of which skillfully publicized the bourgeois moral concept with excellent artistic language and were highly praised by the public. However, this "virginal painter" has devoted himself almost wholeheartedly to portrait painting since 1780. He has sincere feelings, smart style and transparent colors. "The Milkman" and "The Bird Died" portray the hearts of ordinary girls as pure and noble, which dwarfs the court portraits.

In the era of Louis XV, everything was luxurious, and Xia Erdan's serious still life paintings became more mellow and moving. The painter's eyes quietly stared at dishes, fish, fruits, bread and other extremely ordinary things, and excavated deep beauty from them. What people are used to and even disdain is endowed with meaningful poetry by turning stone into gold. They are spoons, musical instruments, dining tables, cakes and goblets. Xia Erdan's figure painting is also profound. Prayer only depicts a mother and two children, which fully shows the life situation and character and sentiment of the citizen class. The housewife who came back from the market was panting against the shiny old cupboard. The natural style and realistic texture make it easy for people to feel the warmth, life and flavor of the times in their paintings, which is beyond the reach of other still life painters and custom painters.

In terms of landscape painting, it is worth mentioning that Ouimet (1714-1789), whose Lighthouse and Bridge of Roto far surpassed that era in terms of bold techniques and bright colors, said that they predicted the Italian Colo scenery, which was not flattering. Robert (1733— 1808) painted the landscape of Roman ruins, which brought the ancient ruins to the real and beautiful sky. The ingenious composition of "Garcho" and the novel technique of expressing the sunset glow by using tone contrast show his extraordinary sensitivity.