Word: boucher
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...Gallery director who helped select the paintings, the show has interesting examples of artists who are almost too catalogued in the common memory. Take Guardi. The mind leaps to Venice's canals, but the show's Guardi is a fantastical landscape of writhing trees and magical boats. Boucher? Rather than playful nymphs and naked amoureuses, there are a phantasmagoric cottage and tower that the brothers Grimm might have imagined. And Ruisdael, that painter of flickering Dutch light, is represented by a picture of a dark swamp-a savage place that could well be haunted by some woman wailing...
...Louis XVI became King of France; in 1830, Charles X fell. The texture of French thought changed more radically in those 56 years than it ever had before, or would again. So did its cultural surface, especially in painting, which moved, as it were, from the pink thighs of Boucher's Miss O'Murphy to the martial sinews of David's Horatii and thence to the tumescent flesh of Delacroix's slave girls almost within the lifetime of one man. Yet these tremendous years of the Revolution, the Directorate and the Empire have long been...
Shower of Gold. The French court artists of the late 17th century, like Jean Jouvenet and Charles De La Fosse, all worked under Rubens' shadow. So did François Boucher in the late 18th century, and a further succession of painters, culminating in the 19th with Eugene Delacroix. "What a magician! I get out of sorts with him at times. I quarrel with him because of his heavy forms, his lack of science and elegance. But how far he is above all those little qualities which make up the whole baggage of others ..." And the view Delacroix expressed...
...first systematic effort to show Rubens' posthumous influence on Europe theme by theme. It is hard to see how so much territory could be better indicated on a small exhibition budget. Apart from the (necessarily small) paintings by Rubens himself, there are works by Jouvenet, De La Fosse, Boucher, Fragonard, Gainsborough, Sir Joshua Reynolds, Gericault and Delacroix, and as fine a group of Watteau crayon drawings as one could hope to see in any room...
...trivial reasons men adduce for killing or putting themselves in the way of being killed. To him, murder is the ultimate emotional excess, an enigma he has worried with a tough-minded, ironic and often subtle compassion in such recent films as This Man Must Die and Le Boucher. These movies are about the exorcizing of private demons. Never until The Nada Gang has Chabrol concerned himself with murder in its most absurd manifestation-as an act of public political protest...