弗朗索瓦·布歇全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-18
 牧神潘恩和河神之女西瑞克斯 | - |
| 维纳斯和丘比特 | Although this sketch is similar to drawings by Boucher, a talented pupil or another artist striving to emulate Boucher probably made it. |
| 维纳斯喷泉 | Lighthearted, erotic decorative schemes remained popular among the French aristocracy throughout the 1700s. In this painting, part of the playfulness comes from the way Boucher painted some of the figures in gray, as if made of stone, while the others are fully human. The artist toyed with the boundaries of painting and sculpture, as well as fiction and reality.The original purpose of this painting remains unclear. While it may have been exhibited as an independent work of art, it probably served initially as a preliminary design for a tapestry. |
| 蓬巴杜夫人 | - |
| 中国园林 | 画面上出现了大量写实的中国元素，比如帽子、服饰、中国红伞等等，画中的人物装束很像是戏装，与当时的清朝装束还离得比较远，但中国特色还是很明显。布歇与中国有缘，除了这幅画外，还绘制了《中国皇帝上朝》、《中国捕鱼风光》、《中国花园》和《中国集市》等油画。布歇从来没有来过中国，更没有看到过故宫，估计这几幅作品的灵感来自中国瓷器上的绘画再加上布歇的想象。布歇的作品中所表现的中国人，除了面孔像是中国的，其余的地方，都像法国人，准确地说，像法国贵族。 |
| 逃往埃及途中的歇息 | 这是一幅逃难途中的圣母子题材画，圣母宁静的阅读圣经，诸多小天使在周围飞翔，是一幅祥和欢乐的画面。 |
| 爱之泉 | Boucher was a master painter, and his most revered scenes are those of the quaint countryside, depicting idyllic pastoral scenes and classical themes. His depictions in the pastoral genre excluded the harsh realities of live, and brought the beauty of the countryside into the homes of aristocratic society. The Fountain of Love is such an image. It was first designed as an image for a tapestry in 1748, and was one in a set of six images depicting Noble Pastorales. Originally, tapestries were woven directly over the paintings, and later, they were cut up into sections to be sold separately. Fortunately this one was spared such a fate, and it is now in the collection of The Getty Center of Los Angeles. |
| 国王路易十五的头 | - |
| 带着伞的女人 | - |
| 博韦附近的景观 | - |
| 欧罗巴被绑架 | - |
| 阿波罗向牧羊女伊斯谢展示他的神性 | - |
| 时尚商家 | - |
| 一个拿着手笼的女士画像 | - |
| 有废墟和桥的河流景观 | This fantasy landscape of vegetation and architectural ruins conveys the impression of a stage set, on which Boucher has strategically placed a number of lyrical figures from the bucolic repertoire: fishermen, shepherds and peasant women. As was common in this genre, the artificial impression of the scene is heightened by a strong light streaming in from the left. Boucher achieved immense success with compositions of this kind. |
| 蓬巴杜侯爵夫人 | - |
| 被打断的睡眠 | - |
| 艺术家女儿的肖像 | - |
| 丘比特囚犯 | - |
| 秋季牧歌 | - |
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