Musee du Louvre Paintings by Michel Laclotte

By Michel Laclotte

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This work is the final expression of Ingres* lifelong preoccupation with the sensual Baigneuse theme, and was painted when he was eighty-two. The hack view of the figure in the foreground had already appeared, for instance, in the Baigneuse Valpincon of 1808 and in the Petite Baigneuse of 1828, both in the Louvre. The Turkish Bath, inspired no doubt by Lady Worthy Montague 's accounts of Las tern harems in her famous Letters, was originally square. , but returned to Ingres' studio the following year.

47 X 37 cms. (18 3/4 X 14 3/4 Signed: Chardin, 1739 Acquired in 1867. I. ) 720 From 1737 onwards Chardin painted a series of small family scenes depicting episodes in everyday life. These were so popular that the artist reproduced several of them, which explains why the Louvre possesses two original versions of the Grace. The Purveyoress demonstrates a refinement and simplicity which make it superior to variants in Berlin (dated 1738) and Toronto (dated 1739). From 1742 onwards the Purveyoress became popular as an engraving by Lepicie and was accompanied by the quotation: " voire air festime et je pense A Ma chere enfant sans calculer Que Ce The apartment shown vous prene% sur la depense qu'il faut pour vous habiller " !...

926 This intimate, N. homely scene, rather rare in Boucher's work (engraved in 1744 by Lepicie, usually Chardin's interpreter) depicts the painter's twenty-six-year-old wife 17 3 /, and Jus tee-Nathan, The setting, a priceless example of a Rococo interior, was undoubtedly the painter's own home in the rue Saint-Thomas-du-Louvre. Several preliminary sketches for this work, exist, amongst them a fine study for the young man serving chocolate, now in and her two eldest children, Jeanne-Elisabeth-Victoire, born in born in 1736.

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