Painting

Michael Allison Humanities 123-05A February 21, 2013 A dramatic departure from his usual works of mythical scenes and characters, stunning portraits of French royalty and scenes of excess, and frivolity and amorous indulgence enjoyed by his aristocratic subjects, Francois Bouchers’s 1751 painting The Mill at Charenton nonetheless is worthy of appreciation as it showcases Boucher’s talent in painting landscape themed works. Enjoying the patronage of Madame de Pompadour, mistress of King Louis XV, Boucher’s art covers a wide range of themes, and The Mill at Charenton is representative of his outdoor, landscape works. The same, or very similar scenes, appear in a number of Boucher’s paintings. According to francoisbouchere.org, Boucher is famous for his opinion of the natural world, as he describes it as “trop verte et mal eclaire,” or too green and badly lit (francoisbouchere.org). Set apart from the grit of the city and the excess at Versailes, The Mill at Charenton portrays a simple, yet fulfilling life in a tranquil scene that radiates serenity. Dominant lines in the painting are diagonal, beginning at the top of the tree about halfway up on the left side of the painting, crossing the smaller building with an opposing diagonal roof and continuing over the top of the chimney to the other side of the work. This is the dominant line of the painting, and it passes over and leads the eye to the dominant structure in the work, a building set on a hill overlooking the scene below. Both simple and non-descript, in its simplicity the abode, possibly a mill, speaks to the mind’s eye as it is removed from the excess and frivolity of Versailles. Sunlight is cast on it as it stands, almost a sentinel, overseeing and protecting the occupants of the scene below. The roof of the mill is a secondary diagonal line beginning in the upper right of the painting, with the staircase below running parallel to it. Another diagonal line is present from the roof of the smaller structure to the left of the main mill, and a horizontal feel is generated by the chimney. Curiously, the viewer’s eye catches the birds over the smaller building, on the small building and on the roof of the bigger structure. Appearing in other Boucher works, they are white, symbolizing peace, as the peaceful setting around them answers to their message. Sunlight being the source of light in this painting, it filters through the clouds as it moves from the upper left of the painting. It illuminates the child overlooking the small pond and is dominant on the main structure and on the archway below. While light is not cast directly on the pond below, it does reflect off the main structure and is reflected in the pond’s still, tranquil water. It would appear the sun has risen over the darker clouds in the foreground, perhaps indicating a rain had fallen earlier, and the overall feeling the painting projects suggests it would be a relaxing, welcome rainfall. In contrast to Boucher’s other works, the dominant colors are subdued, the main color being a light tan to a darker brown, with a splotch of red in the child’s clothing. The dark colors of the foliage and the sunlight reflect perfectly Boucher’s opinion that the outdoor is “too green and badly lit.” Overlooking the serene water of the pond below, the child above is peaceful in a setting that allows the child to be present alone. A dog on the path below in the foreground seems to be keeping watch over the child, who seems to be portrayed in other Boucher works in which the mill is at the center of. A work simply entitled The Mill features the same child (perhaps), but also a mother doing laundry in the river and a man relaxing on a bridge overlooking the scene below. The relaxed atmosphere of that painting suggests the same feeling of serenity. Space in this painting is largely undefined, compared to other paintings of the same subject are observed at different angels or positions to this work. Undoubtedly, Francois Boucher’s life in the court of Versailles and patronage of such royalty put intense pressure on the artist, whose paintings would come to define the Rococco movement. Creating such dramatic works of mythological subjects, kings, queens and all the trappings of the aristocracy would put untold pressure on anyone, and Francois Boucher’s attempt to escape that pressure, if only momentarily, is well observed in this painting, and others of similar subject. Works Cited francoisboucher.org/biography. Web. 21 February 21, 2013. .