Jean-Simeon Chardin. Jean-Baptiste-Siméon Chardin was an 18th-century French painter.
He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities. Carefully balanced composition, soft diffusion of light, and granular impasto characterize his work.
Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.
Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731. He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicolas Coypel, and in 1724 became a master in the Académie de Saint-Luc.
According to one nineteenth-century writer, at a time when it was hard for unknown painters to come to the attention of the Royal Academy, he first found notice by displaying a painting at the small Corpus Christi on the Place Dauphine. Van Loo, passing by in 1720, bought it and later assisted the young painter. Upon presentation of The Ray in 1728, he was admitted to the Académie Royale de Peinture et de Sculpture. The following year he ceded his position in the Académie de Saint-Luc. He made a modest living by produc paintings in the various genres at whatever price his customers chose to pay him, and by su
He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities. Carefully balanced composition, soft diffusion of light, and granular impasto characterize his work.
Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.
Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731. He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicolas Coypel, and in 1724 became a master in the Académie de Saint-Luc.
According to one nineteenth-century writer, at a time when it was hard for unknown painters to come to the attention of the Royal Academy, he first found notice by displaying a painting at the small Corpus Christi on the Place Dauphine. Van Loo, passing by in 1720, bought it and later assisted the young painter. Upon presentation of The Ray in 1728, he was admitted to the Académie Royale de Peinture et de Sculpture. The following year he ceded his position in the Académie de Saint-Luc. He made a modest living by produc paintings in the various genres at whatever price his customers chose to pay him, and by su
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