It is this complete absorption of the protagonists of Chardin's
genre scenes in their occupations or thoughts that fills his work
with such profound human interest. Chardin is never anecdotal, never
sentimental--in this respect, as well as in the solidity of his
technique, and in his scientific search for colour values and
atmosphere, he is vastly superior to Greuze, whose genre scenes are
never free from literary flavour and from a certain kind of affectation.
Nor does Chardin ever fancy himself in the rôle of the moralist like our
own Hogarth, with whom he has otherwise so much in common. He looks upon
his simple fellow-creatures with a sympathetic eye, watching them in the
pursuit of their daily avocation, the women conscientiously following
the routine of their housework or tenderly occupied with the education
of their children, the children themselves intent upon work or
play--never posing for artistic effect, but wholly oblivious of the
painter's watching eye. Chardin was by no means the first of his
country's masters to devote himself to contemporary life. Just as Oudry
took the first hesitating steps towards the Chardinesque conception of
still-life, so Jean Raoux busied himself in the closing days of the
seventeenth century with creating records of scenes taken from the daily
life of the people, but he never rid himself of the sugary affected
manner that was the taste of his time. It was left to Chardin to
introduce into the art of genre painting in France the sense of
intimacy, the homogeneous vision, the atmosphere of reality which we
find in such masterpieces as the "Grace before Meat," "The Reading
Lesson," "The Governess," "The Convalescent's Meal," "The Card Castle,"
the "Récureuse," the "Pourvoyeuse," and the famous "Child with the Top,"
which, after having changed hands in 1845, at the time when Chardin was
held in slight esteem, for less than £25, was recently bought for the
Louvre, together with the companion portrait of Charles Godefroy, "The
Young Man with the Violin," for the enormous price of £14,000.
Public-domain text, read in full here on John Shaqi.
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