弗朗索瓦·布歇全部影視作品
首發(fā)于 qinglite.cn，統(tǒng)計截止日：2026-01-20
 牧神潘恩和河神之女西瑞克斯 | - |
| 維納斯和丘比特 | Although this sketch is similar to drawings by Boucher, a talented pupil or another artist striving to emulate Boucher probably made it. |
| 維納斯噴泉 | Lighthearted, erotic decorative schemes remained popular among the French aristocracy throughout the 1700s. In this painting, part of the playfulness comes from the way Boucher painted some of the figures in gray, as if made of stone, while the others are fully human. The artist toyed with the boundaries of painting and sculpture, as well as fiction and reality.The original purpose of this painting remains unclear. While it may have been exhibited as an independent work of art, it probably served initially as a preliminary design for a tapestry. |
| 蓬巴杜夫人 | - |
| 中國園林 | ?畫面上出現(xiàn)了大量寫實的中國元素，比如帽子、服飾、中國紅傘等等，畫中的人物裝束很像是戲裝，與當時的清朝裝束還離得比較遠，但中國特色還是很明顯。布歇與中國有緣，除了這幅畫外，還繪制了《中國皇帝上朝》、《中國捕魚風光》、《中國花園》和《中國集市》等油畫。布歇從來沒有來過中國，更沒有看到過故宮，估計這幾幅作品的靈感來自中國瓷器上的繪畫再加上布歇的想象。布歇的作品中所表現(xiàn)的中國人，除了面孔像是中國的，其余的地方，都像法國人，準確地說，像法國貴族。 |
| 逃往埃及途中的歇息 | 這是一幅逃難途中的圣母子題材畫，圣母寧靜的閱讀圣經(jīng)，諸多小天使在周圍飛翔，是一幅祥和歡樂的畫面。 |
| 愛之泉 | Boucher was a master painter, and his most revered scenes are those of the quaint countryside, depicting idyllic pastoral scenes and classical themes. His depictions in the pastoral genre excluded the harsh realities of live, and brought the beauty of the countryside into the homes of aristocratic society. The Fountain of Love is such an image. It was first designed as an image for a tapestry in 1748, and was one in a set of six images depicting Noble Pastorales. Originally, tapestries were woven directly over the paintings, and later, they were cut up into sections to be sold separately. Fortunately this one was spared such a fate, and it is now in the collection of The Getty Center of Los Angeles. |
| 國王路易十五的頭 | - |
| 帶著傘的女人 | - |
| 博韋附近的景觀 | - |
| 歐羅巴被綁架 | - |
| 阿波羅向牧羊女伊斯謝展示他的神性 | - |
| 時尚商家 | - |
| 一個拿著手籠的女士畫像 | - |
| 有廢墟和橋的河流景觀 | This fantasy landscape of vegetation and architectural ruins conveys the impression of a stage set, on which Boucher has strategically placed a number of lyrical figures from the bucolic repertoire: fishermen, shepherds and peasant women. As was common in this genre, the artificial impression of the scene is heightened by a strong light streaming in from the left. Boucher achieved immense success with compositions of this kind. |
| 蓬巴杜侯爵夫人 | - |
| 被打斷的睡眠 | - |
| 藝術(shù)家女兒的肖像 | - |
| 丘比特囚犯 | - |
| 秋季牧歌 | - |
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