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Updated: June 21, 2025
Chardin interprets still-life with realistic beauty; if he had ever painted an onion it would have revealed a certain grace. When Paul Cézanne paints an onion you smell it. Nevertheless, he has captured the affections of the rebels and is their god. And next season it may be some one else. Paul Cézanne bitterly resented the liberty taken by his old school friend Zola.
After further misadventures he arrived at Tiflis on the 17th of December, 1672, and as Georgia was then governed by a prince who was a tributary of the Shah of Persia, it was easy for Chardin to reach Erivan, Tauriz, and finally Ispahan.
I. The Syndon, mentioned by Isaiah, &c. was a delicate and transparent substance, like our tiffany, and in point of money value was fully on a level with the Caftan; but whether imported from Egypt, or imitated in the looms of the Hebrews and Phoenicians, is doubtful. L'on appelle ces presens Kalaat. Chardin. Among the points of resemblance are these:
Chardin the traveller, writing in A.D. 1667, gives the population of Ispahán at considerably over a million, but it does not now exceed fifty thousand, including the suburb of Djulfa. The Madrassa, or College, the governor's palace, and "Chil Situn," or "Palace of the Forty Pillars," are the only buildings that still retain some traces of their former glory.
For instance, the art of Nicolas Poussin, Claude, El Greco, Chardin, Ingres, and Renoir, to name a few, moves us as that of Giotto and Cézanne moves. The bulk, however, of those who flourished between the high Renaissance and the contemporary movement may be divided into two classes, virtuosi and dunces.
It may be necessary to distinguish, as elsewhere, between the Wise and the Multitude. An ambassador of Holland had had them sketched at very great cost by a painter, who had devoted a considerable time to the task: but by some chance or other these sketches fell into the hands of a well-known traveller, M. Chardin, according to what he tells us himself. It would be a pity if they were lost.
The usual signs of disinclination for office work and a passion for art having duly appeared, he was sent to Boucher, who advised him to go and study under Chardin. This he did for a short time, but finding it dull for Chardin was not as great a teacher as he was a painter he went back to Boucher as an assistant.
Here can be found a whole chain of truly national artists who have either been misjudged, like Chardin, or considered as "small masters" and excluded from the first rank for the benefit of the pompous Allegorists descended from the Italian school. Impressionism being beyond all a technical reaction, its predecessors should first be looked for from this material point of view.
Diderot, alone among the critics of his epoch, saluted him in company with the great Buffon as a man whom nature had taken into her confidence. In 1728 he was received at the Academy as painter of fruit and flowers. He married his first wife, Marguerite Saintan, in 1731, and his son, J.B. Chardin, was born the same year.
At first Chardin only traversed Persia in order to reach Ormuz and to embark for the Indies. The following year he returns to Ispahan, and applies himself to learn the language of the country, in order to be able to transact business directly and without any intermediary agent.
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