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PROPERTY FROM THE LOYD COLLECTION

François Boucher
A YOUNG WOMAN LYING ON HER FRONT
前往
15

PROPERTY FROM THE LOYD COLLECTION

François Boucher
A YOUNG WOMAN LYING ON HER FRONT
前往

拍品詳情

西洋古典油畫及素描

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倫敦

François Boucher
1703 - 1770年,巴黎
A YOUNG WOMAN LYING ON HER FRONT
Black and white chalk, on blue paper
306 by 422 mm
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來源

Samuel Jones Loyd, later 1st Baron Overstone (1796-1883),
thence by inheritance to his son-in-law, Brigadier-General Robert Loyd-Lindsay, 1st Baron Wantage, VC, KCB, VD (1832-1901), Lockinge, Oxfordshire,
thence by descent to the present owner

展覽

London, Burlington Fine Arts Club, Pictures, Drawings, Furniture and Objets d'Art, 1924-5, no. 205;
King's Lynn, Fermoy Art Gallery, French Drawings of the 17th and 18th Century, 1985, no. 5

出版

G. Redford, Descriptive Catalogue of works of Art at Overstone Park, Lockinge House and Carlton Gardens, 1878, no. 139 (as "style of Boucher");
Guide to the Pictures at Lockinge House (A.T. Loyd's Collection), 1928, p. 30;
The Loyd Collection of Paintings and Drawings at Betterton House, Lockinge near Wantage, Berkshire, London 1967, p. 49, no. 68, fig. 68, reproduced;
F. Russell, The Loyd Collection of Paintings, Drawings and Sculptures, 1991, p. 31, no. 68, fig. 52, reproduced

相關資料

Executed with the freedom and gusto that made Boucher the preeminent force in French art during the 18th century, and his drawings so keenly sought after by collectors from his lifetime through to the present day, this fine sheet, drawn in a combination of black and white chalk, on blue paper, is a captivating and highly characteristic example of the Frenchman’s work as a draughtsman.

Here the artist has depicted a full length female figure, lying on her front, her left arm outstretched. While the pose is highly reminiscent of some of Boucher’s most iconic drawings from earlier in his career, such as Study of a young girl lying on her front,1 which relates to Boucher’s erotically charged L’Odalisque,2 the voluminous silk dress, heaped around the body of his model in the present work, adds a degree of restraint that is so clearly absent in these other two nudes.

Though previously linked on stylistic grounds to two drawings,3 both of which are connected with Boucher’s painting La Pipée aux Oiseaux,4 Alastair Laing, who has recently reexamined the drawing in the original and reaffirmed the attribution to Boucher, has proposed a revised dating of circa 1760-65. Though no connection to any other painting by the artist has so far been identified, Laing believes that the Loyd drawing was probably done for, or derived from, one of the main figures in a pastoral scene, or possibly a landscape.

1.
 See sale, London, Sotheby’s, 5 July 2000, lot 57 (£223,500)
2. A. Ananoff, François Boucher, Lausanne and Paris 1976, vol. I, p. 379, no. 264, fig. 789, reproduced
3. Ibid., vol. II, p. 22, no. 324/1, fig. 939, reproduced and no. 324/11
4. Ibid., p. 21, no. 324/a, fig. 935, reproduced

西洋古典油畫及素描

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倫敦