1720年,他赢得了精英德罗马大奖赛绘画,但不占用重要的机会来研究在意大利,直到五年后,由于财务问题皇家Academie de peinture et de雕塑.在意大利留学回国,他被重建Academie de peinture et de雕塑1731年11月24日。他的片断de接待(接待)是他1734年莱和Armida。
鲍彻结婚Marie-Jeanne Buzeau在1733年。这对夫妇有三个孩子在一起。鲍彻职业生涯在1734年成为一名教员和加速从这个角度,他被提拔教授学院校长,成为的检查员皇家那个工厂最后总理Peintre du Roi在1765年(第一个国王的画家)。
的画像玛丽O 'Murphy1752 c。
也随着他的画,鲍彻戏剧服装和布景设计,和热心的滑稽歌剧的阴谋查尔斯·西蒙Favart与自己的绘画风格。挂毯设计也是一个考虑因素。为博韦挂毯车间他第一次设计了一系列节日italiennes(“意大利节日”)1736年,这被证明是非常成功的,常常被多年来,然后,在1737年委托,一套的故事丘比特和普赛克. 在二十年的参与博韦tapestry车间鲍彻生产设计六个系列的绞刑,tapestry显示心理和Basketmaker从1741 - 1742.
鲍彻也呼吁法院庆典由截面设计国王的家庭被称为Menus-Plaisirs du Roi和歌剧和皇家城堡凡尔赛宫,枫丹白露和Choisy。他设计的前面提到的增强他的声誉,从他的工作,甚至导致许多版画复制他的设计瓷和biscuit-ware在文森地区和塞夫勒工厂。Oudry的死亡在1755年结束其贡献博韦但他与那个合作一直持续到1765年,当他辞去职务一个检查员。
A native of Paris, Boucher was the son of a lesser known painter Nicolas Boucher, who gave him his first artistic training. At the age of seventeen, a painting by Boucher was admired by the painter François Lemoyne. Lemoyne later appointed Boucher as his apprentice, but after only three months, he went to work for the engraver Jean-François Cars.
In 1720, he won the elite Grand Prix de Romefor painting, but did not take up the consequential opportunity to study in Italy until five years later, due to financial problems at the Académie royale de peinture et de sculpture. On his return from studying in Italy he was admitted to the refounded Académie de peinture et de sculpture on 24 November 1731. His morceau de réception (reception piece) was his Rinaldo and Armida of 1734.
Boucher married Marie-Jeanne Buzeau in 1733. The couple had three children together. Boucher became a faculty member in 1734 and his career accelerated from this point as he was promoted Professor then Rector of the Academy, becoming inspector at the Royal Gobelins Manufactory and finally Premier Peintre du Roi (First Painter of the King) in 1765.
Boucher died on 30 May 1770 in his native Paris. His name, along with that of his patron Madame de Pompadour, had become synonymous with the French Rococo style, leading the Goncourt brothers to write: "Boucher is one of those men who represent the taste of a century, who express, personify and embody it."
Boucher is famous for saying that nature is "trop verte et mal éclairée" (too green and badly lit).
Boucher was associated with the gemstone engraver Jacques Guay, whom he taught to draw. Later Boucher made a series of drawings of works by Guay which Madame de Pompadour then engraved and distributed as a handsomely bound volume to favored courtiers.The neoclassical painter Jacques-Louis David began his painting instruction under Boucher.
Boucher took inspiration from artists such as Peter Paul Rubens and Antoine Watteau.Boucher's early works celebrate the idyllic and tranquil portrayal of nature and landscape with great elan. However, his art typically forgoes traditional rural innocence to portray scenes with a definitive style of eroticism as his mythological scenes are passionate and intimately amorous rather than traditionally epic. Marquise de Pompadour (mistress of KingLouis XV), whose name became synonymous with Rococo art, was a great admirer of his work.Marquise de Pompadour is often referred to as the "godmother of Rococo."
Boucher's paintings such as The Breakfast (1739), a familial scene, show how he was as a master of the genre scene, where he regularly used his own wife and children as models. These intimate family scenes are contrasting to the licentious style seen in his Odalisqueportraits.
The dark-haired version of the Odalisque portraits prompted claims by the art critic Denis Diderot that Boucher was "prostituting his own wife", and the Blonde Odalisque was a portrait that illustrated the extramarital relationships of the King. Boucher gained lasting notoriety through such private commissions for wealthy collectors and, after Diderot expressed his disapproval, his reputation came under increasing critical attack during the last years of his career.
Along with his painting, Boucher also designed theater costumes and sets, and the ardent intrigues of the comic operas of Charles Simon Favart closely paralleled his own style of painting. Tapestry design was also a concern. For the Beauvais tapestryworkshops he first designed a series of Fêtes italiennes ("Italian festivals") in 1736, which proved to be very successful and often rewoven over the years, and then, commissioned in 1737, a suite of the story of Cupid and Psyche. During two decades' involvement with the Beauvais tapestry workshops Boucher produced designs for six series of hangings in all, like the tapestry showing Psyche and the Basketmaker from 1741–1742.
Boucher was also called upon for designs for court festivities organized by that section of the King's household called the Menus-Plaisirs du Roi and for the opera and for royal châteaux Versailles, Fontainebleau and Choisy. His designs for all of the aforementioned augmented his earlier reputation, resulting in many engravings from his work and even reproduction of his designs on porcelain and biscuit-wareat the Vincennes and Sèvres factories. The death of Oudry in 1755 put an end to its contribution to Beauvais but his collaboration with the Gobelins lasted until 1765, when he stepped down from his position as an inspector.
Boucher was a very prolific and varied draftsman. His drawings served not only as preparatory studies for his paintings and as designs for printmakers but also as finished works of art for which there was a great demand by collectors. Boucher followed standard studio practices of the time, by first working out the overall composition of his major canvases, and then making chalk studies for individual figures, or groups of figures. He also relied on oil and gouache sketches in the preparation of major commissions.
Gradually he made more and more sketches as independent works for the market. TheAdoration of the Shepherds (Metropolitan Museum of Art), a free and painterly sketch in gouache, was long considered a preparatory sketch for Madame de Pompadour’s private altarpiece La lumière du monde (ca. 1750, Musée des Beaux-Arts, Lyon). Recent scholarship suggests, however, that it was made at least 10 years later as an autonomous work. In the last decade of his career the artist began to favor brown chalk, a fabricated medium.
Boucher was also a gifted engraver and etcher. Boucher etched some 180 original copperplates. He made many etchings after Watteau. He thus helped propagate a taste for reproductions of drawings. When his own drawings began to sell, 266 of them were etched in stipple substitutes by Gilles Demarteau. These were printed in red ink so they resembled red chalk drawings which could be framed as little pictures. They could then be hung in the small blank spaces of the elaborately decorated paneling of luxury dwellings.
Boucher's most original inventions were decorative, and he contributed to the fashionable style of chinoiserie, after having etched 12 'Figures Chinoises' (Chinese figures) by Watteau