File:Chardin (1909) (14779965094).jpg

Identifier: chardin00kono (find matches)
Title: Chardin
Year: 1909 (1900s)
Authors: Konody, Paul G. (Paul George), 1872-1933
Subjects: Chardin, Jean Baptiste Siméon, 1699-1779
Publisher: London : T. C. & E. C. Jack New York, F. A. Stokes co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ant suggestion in Chardinspaintings. They reflect his own life;perhaps they represent the very surround-ings in which he spent his busy days, forwe find in their sequence the clear indica-tion of growing prosperity from a conditionwhich verges on poverty—respectable, notsordid, poverty — to comparative luxury ;from drudgery in kitchen and courtyard to PLATE V.—LA GOUVERNANTE (MOTHER AND SON)(In the collection of Prince Liechtenstein in Vienna) La Gouvernante, or Mother and Son, is one of the mostattractive of the many Chardin pictures in the collection of PrinceLiechtenstein in Vienna. Observe the perfectly natural attitude ofthe woman and the child, in which there is not the slightest hint ofposing for the artist Like all Chardins genre pictures, it is, as itwere, a glimpse of real life. This picture and its companion LaMere Laborieuse figured at the sale of Chardins works after hisdeath, when his art received such scant appreciation that the paironly realised 30 livres 4 sous!
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CHARDIN 41 tea in the cosy parlour. There can be butlittle doubt that many a time the mastersbrush was devoted to the recording of hisown home, his own family, the even tenorof his life. The mans character—and more thanthat, his milieu—are expressed in no un-certain fashion in his three auto-portraits,two of which are at the Louvre, and onein the Collection of M. L6on Michel-L6vy.A good, kind-hearted, simple-minded manhe appears in these pastel portraits, whichall date from the last years of his life, aman incapable of wickedness or meanness,and endowed with a keen sense of humourthat lingers about the corners of his mouth.It is a face that immediately enlists sym-pathy by its obvious readiness for sym-pathy with others. And so convincing arethese portraits in their straightforward boldstatement, that they may be accepted asdocumentary testimony to the mans char-acter, even if we had not the evidence ofFragonards much earlier portrait of Chardin, 42 CHARDIN which was until recentl

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