[IV]
LE MONDE QUI S’AMUSE
The Homely had come upon the town out of Holland, painted with most consummate artistry by Chardin, and was soon in the vogue. Boucher had a quick eye for the mode. And he straightway set himself to the painting of “La Belle Cuisinière.” Still-life and homely subjects need an accuracy of realism and a Dutch sense of these things, a sense of sincerity and an appreciation of the dignity of the work-a-day life of the people, in which Boucher was wholly lacking. Above all, it calls for a sense of “character,” which, in Boucher, was always weak. It was a sneer against him that his very broomsticks called for pompons and ribbons—and there was more than a little truth in the spite. He is more concerned with the accident of the kissing of a kitchen-maid than with the kitchen’s habit. He cannot even peep into a scullery without dragging in Venus by the skirts, and tricking her out in a property-wardrobe of a scullery-wench, in which the girl is clearly but acting the part.
However, these passing vogues and experiments in different methods were only gay asides—he was working the while upon his own subjects; and, to the display by its several members ordered by the Academy, he sent four little paintings of fauns and cupids which won him the honour of election as deputy-professor. His brain and hand were very busy, and he turns from one thing to another with amazing facility, bringing distinction to all that he does.
But he painted about this time two pictures of infants, “L’Amour Oiseleur” and “L’Amour Moissonneur,” which were the beginning of that host of cupids that he let fly from his studio; they frolic across his canvases and join the retinue of Venus, peeping out from clouds, over waves, round curtains, painted with a perfection that has never been surpassed in the portrayal of infants. He painted their round limbs, their lusty life, their delightful awkwardnesses, their jolly fat grace, their naïve surprise at life and glory in it, as they had never been painted before, and have never been painted since.
He also gave forth in this his thirty-third year a “Pastoral” and a “Shepherd and Shepherdess in Conversation,” with sheep about them and in a pleasant landscape, which were his first essays in the style that he created and which made him famous.
His friend Meissonnier, the inventor of the rococo, stood godfather to Boucher’s first-born son in the May of 1736.
From the very beginning Boucher seems to have been engraved. And these engravings, done by the best gravers of his day, greatly extended his reputation and popularised him; he fully realised the value of the advertisement as well as his profits from it. Before his thirty-third year was run out he published his well-known “Cries of Paris.” Boucher’s description of them, “studies from the low classes,” holds the key to that something of failure to realise the dramatic verities that is over all; it gives also the attitude of the France that he knew towards the France that he did not, and could not understand. He created that dainty, pleasant atmosphere that comes floating up to the windows on a fresh morning in Paris from the musical cries of the street vendors; but of the deeper significance of the street-sellers—of the miserable accent in their life, of their weary toil, of the dignity of their labour—he knew nothing; his brush could not refrain from making elegance and fine manners peep from behind the street-porter’s fustian or the milkmaid’s skirt.
But his thirty-third year was to contain a more far-reaching significance even than the creation of his cupid-pieces and pastorals. The “Cries of Paris” were scarce printed when Boucher’s illustration to “Don Quixote” appeared—“Sancho pursued by the servants of the Duke.” This design was to have far-reaching results that Boucher little suspected.
The painter Oudry had been called to the conduct of the great tapestry looms at Beauvais a couple of years before; and in his efforts to furnish the looms with good designs, he now called Boucher to his aid, whose original and fresh style, colour, and arrangement, together with his personal vision, and the enthusiasm and zeal with which he threw himself into the work, at once increased the reputation and the products of the famous looms. This large designing for the tapestries was, in return, of immense value to the development of the genius of the man, enlarging his breadth of style and giving scope to that great decorative sense that was his superb gift. Thenceforth he was destined to play a supreme part in the history of the world-famed factories. He now produced painting after painting for the Beauvais looms.
