The contribution of this artist to the treasury of world art has not yet been fully appreciated. His technique and manner of writing is studied at art academies around the world. More than anything, he loved to write fruit ...
Little is known about Sharden’s childhood and youth. All his biographies begin from the moment when the master was already 30 years old. It is authentically known that the artist was born in the family of a cabinetmaker. Where Chardin received his art education is also unknown, most likely his school is the workshop of Noel Kuapel, where the master worked as an assistant. It is also known for certain that throughout his life Chardin did not leave the borders of Paris.
Working in the workshop of a recognized master, the young Chardin performed assignments related to the image of accessories and details of the master’s paintings. Extraordinary thoroughness and accuracy in work, responsible attitude - all these qualities led to the fact that more and more often the details of Kuapel's paintings looked better than the whole work. The owner of Chardin, realizing that a true craftsman had grown up from an apprentice, offers his employee to give some of his work to the debutants exhibition, which was held in Paris on Dauphiné Square.
At the exhibition, the work of Chardin was noticed. The impression was so strong that many were sure - before them was the work of Dutch masters of the 17th century. One of the honorary members of the Academy made an offer to the novice master to exhibit his work in the walls of the most prestigious exhibition hall in France. A few years later, an apprentice, apprentice, assistant Chardin became a member of the French Academy, recorded with the wording of the depictor of fruits and domestic scenes.
Throughout his creative life, the artist wrote the life of the third estate. Going against fashion, which prescribed adherence to gallant style, an empty but elegant art, designed to decorate and revitalize interiors, the master condemned himself to eternal exclusivity and isolation. He received orders for still lifes in the style of Dutch Baroque. And his genre works were appreciated only by the most perspicacious contemporaries (Didro was enthusiastic about his paintings, and the French encyclopedists enthusiastically spoke about his works in their publications). Compatriots forgot the master immediately after his death. Then there was a revolution, a surge of romanticism, then a magnificent empire hid the work of realists of the 18th century.
Only in the second half of the XIX century, when the development of painting came close to realism, the work of Chardin became a model and the highest reference point for the masters of Western culture. The master’s works today are admired not only by art connoisseurs, but also by the most inexperienced audience.