NOTES
1.
Reproduced by G. de Saint-Aubin in his catalogue. See E. Dacier, Catalogue de vented et livrem de Salons, illustrÉs par Saint-Aubin, Paris, 1909-21, vol. I.
2.
Observation d'une société d'amateurs, 1761.
3.
These letters are all published by Furcy-Raynaud, op. cit., 1904.
4.
'Description des tableaux . . .', Mercure de France, September 1763.
5.
Procès-verbaux de l'Académie, 5 and 26 September 1761.
6.
Quoted by J. Seznec and J. Adhémar in Diderot, Salon de 1769, 1963.
7.
A painting of 'Fruit' and 'another of a Bouquet' belonged to the Comte de Saint-Florentin: Pierre Rosenberg thinks that these can be identified as Grapes and Pomegranates and The Brioche in the Louvre (T.O.P. 166, 167), which are indeed dated 1763. But the word 'bouquet' seems difficult to apply to the orange blossom in The Brioche, a theme which was frequently the subject of still lifes at the time, and one is therefore tempted to think of a vase of flowers, such as the one exhibited at the previous Salon or the painting in Edinburgh (T.O.P. 139). Silvestre again lent two paintings, which were certainly pendants, namely 'Fruit' and 'Leftovers of a Lunch'. These are probably Basket of Plums with Nuts, Currants and Cherries (see page 86) and Basket of Grapes with Three Apples, a Pear and Two Marzipans (T.O.P. 172, 173; see page 87). The other works are described with even less precision.
8.
L'Année litteraire, 4 October 1763, vol. VI.
9.
M. Furcy-Raynaud, op. cit., 1904, pp. 324-34.
10.
At the same Salon of 1765, Van Loo, Hallé, Vien and Lagrenée exhibited paintings which they had completed for Choisy ( Hallé and Lagrenée respectively replacing Jean Baptiste Deshayes and Boucher who had originally been approached by Cochin); Bachelier exhibited two overdoors of flowers in vases. In addition to the three Attributes, Chardin exhibited three paintings of Refreshments, including an oval (T.O.P. 174) and 'several paintings under the same number, one of which was of a basket of grapes'. This last painting, dated 1764, is in the Musée d' Angers (T.O.P. 172) and another version dated 1765 is in the Musée d'Amiens (T.O.P. 172A).
11.
Letterd to M*** . . . , 1765.
12.
This image had already been used twelve years earlier by Baillet de Saint-Julien (in his Ode to Milord Telliab, of 1753): 'The eye . . . would in vain, by its attention and many researches, learn the secret [of your paintings]: it is confounded, lost in your touch; drained of its efforts and without being any wiser, it moves further away, then closer and eventually only leaves promising to return.'
13.
It should be pointed out that the Direction des Bâtiments for a long time delayed the payments for royal commissions. Chardin's bill for his paintings in Choisy and Bellevue was not settled in full until 1771. But he sold paintings and drew on his pensions, and also had the rent for the house in the Rue Princesse. In 1768 this was occupied by François Vernet, brother of Joseph, who paid him rent for fifteen months.
14.
The date 1769 is also marked on a still life with mackerel hanging over a table on which there is a cabbage, radishes, onions, cheese in a round wooden box, a silver cruet, two brioches and some earthenware pots ( San Francisco, Collection of Mrs Phoebe Cowles -- see p. 176). This contrast between a kitchen table and pantry table seems to have been Chardin's last attempt at this sort of representation, but he does not appear to have exhibited it at the Salon.
15.
Sentiments sur les tableaux . . . , 1769.
16.
Réponse de M. Jérôme à M. Raphaël.
17.
Lettre sur l'expodition . . . , 1769.
18.
D. Diderot, Salon de 1769, ed. Seznec and Adhémar, vol. III, 1963.

Gabriel de Saint-Aubin, drawings in the catalogue of the Salon of 1769.

-91-

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Chardin
Table of contents

Table of contents

  • Title Page 3
  • Contents 5
  • Preface 6
  • Part I - A Parisian Painter 9
  • Chapter One - Painter of Animals, Kitchen Utensils and Vegetables 11
  • Notes 34
  • Chapter Two - Becoming Famous 37
  • Notes 54
  • Chapter Three - The 1750s: a New Direction 57
  • Notes 73
  • Chapter Four - The 1760s: Official Commissions and a Select Clientele 75
  • Notes 91
  • Chapter Five - The Evening of a Beautiful Day 93
  • Notes 104
  • Part II - The Great Magician 106
  • Chapter One - The Painter and the Critics 109
  • Notes 127
  • Chapter Two - Colour, Brushwork and Feeling 129
  • Notes 143
  • Chapter Three - Still Llfe 145
  • Notes 187
  • Chapter Four - Portraits and Genre Scenes 189
  • Notes 233
  • Chapter Five - The Artist and Engravings 237
  • Notes 245
  • Chapter Six - Painting in Chardin's Time 247
  • Notes 262
  • Selected Texts 263
  • Catalogue of Engravings After Chardin 271
  • Bibliography 285
  • Index 289
  • Photographic Credits 293
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