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Updated: June 21, 2025
At the beginning of the last century, in 1810, when David was ruler of the arts in Paris, the two masterpieces in pastel, now in the Louvre, the portraits of Chardin aux besicles, and the portrait of Marguerite Pouget, his second spouse, could have been bought for twenty-four francs.
After a stay of four years in Persia, and a concluding journey to India, during which he realized a considerable fortune, Chardin returned to Europe and settled in England, his own country on account of his religion, being forbidden ground to him. The journal of his travels forms a large work, in which everything that concerns Persia is especially developed.
Watteau and Boucher and Fragonard painted for the frivolous nobility of the eighteenth century just what that nobility wanted, and even the precursors of the Revolution, sober and honest Chardin, Greuze the sentimental, had no difficulty in making themselves understood, until the revolutionist David became dictator to the art of Europe and swept them into the rubbish heap with the rest.
"So, madame," said the old woman. "So Idamore, his name is Idamore, leastways that is what he calls himself, for his real name is Chardin Idamore fancied that your uncle had a deal more money than he owned to, and he managed to send his sister Elodie and that was a stage name he gave her to send her to be a workwoman at our place, without my daughter's knowing who she was; and, gracious goodness! but that girl turned the whole place topsy-turvy; she got all those poor girls into mischief impossible to whitewash them, saving your presence
He would not see, for instance, that the Degas ballet girls are on the same plane as the Ingres odalisques; that a still-life by Chardin outweighs a big canvas by David; and it must be admitted that the world is on the side of Zola. The heresy of the subject will never be stamped out, the painted anecdote will always win the eye of the easily satisfied majority.
As Canaille Mauclair says: "Carrière was first influenced by the Spaniards, then by Ver Meer and Chardin ... formerly he coloured his canvas with exquisite delicacy and with a distinction of harmonies that came very near to Whistler's.
Jack Dysart arrived presently, graceful, supple, always smilingly, elaborate of manner, apparently unconscious that he was not cordially admired by the men who returned his greeting. Later, Rosalie, came, enchantingly demure in her Greuze-like beauty. Chardin might have made her; possibly Fragonard. She did not resemble the Creator's technique.
Another early work of Fragonnard in this room is 291, R. wall, The Music Lesson: some of his more characteristic productions we shall meet with in the Salle La Caze. Chardin is well seen in this room in his laborious studies of still life, 89 and 90, L. wall, diploma works, and in 91 and 92, same wall, The Industrious Mother, and Grace before Meat.
The whole incident throws a glaring light on the conditions under which the art of France flourished in the Louis Quinze period, when Boucher was everybody and Chardin nobody. In this the equal delicacy of the sentiment and of the painting combine to effect a little masterpiece of Louis Quinze art.
With their eyes fixed on the carnivora, they pay no attention to the reptiles; happily, they abandon to the writers of comedy the shading and colorings of a Chardin des Lupeaulx.
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