Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes
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Hyejin Lee
Abstract
Jean-Siméon Chardin’s food still lifes from the 1750s and 1760s diverge from his earlier kitchen displays by exhibiting mainly ready-to-eat fruit, baked goods, and beverages, without any suggestion of additional cooking. The emergence of this subgenre in the artist’s oeuvre corresponded to the rise of a new ethos of eating in mid-1700s France, which championed simply prepared food as the alimentary corrective to the corrupting influence of over-refined modern cookery. This moral discourse on Chardin’s subject matter ran parallel to the critical acclaim for the distinct visuality of his art as an antidote to the excess of rococo style. In light of the mid-century discourse on art and food, Chardin’s late still lifes embodied the reformist aesthetic advocated by the French intellectual elite.
© 2021 Walter de Gruyter GmbH, Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- Aufsätze
- La «Nemesi» düreriana:Un manifesto della Translatio artium verso il Nord
- Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes
- Allegory and Analogy in Menzel’s The Iron Rolling Mill
- Karikatur als Kriegsdienst: Aby Warburgs »neuer Stil zwischen Wort und Bild«, 1914–1918
- Matisse in Vence: Die Kapelle als Atelier
- Buchbesprechung
- Was Jan van Eyck sah und wusste
Artikel in diesem Heft
- Frontmatter
- Aufsätze
- La «Nemesi» düreriana:Un manifesto della Translatio artium verso il Nord
- Eloquent Artifice and Natural Simplicity: Moral Aesthetics of Painting and Eating in Chardin’s Late Food Still Lifes
- Allegory and Analogy in Menzel’s The Iron Rolling Mill
- Karikatur als Kriegsdienst: Aby Warburgs »neuer Stil zwischen Wort und Bild«, 1914–1918
- Matisse in Vence: Die Kapelle als Atelier
- Buchbesprechung
- Was Jan van Eyck sah und wusste
