François Boucher’s (1703–1770) activity as a theatre designer is a fascinating aspect of his prolific and varied career.
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Records state that he regularly designed for the musical entertainments performed by the Opéra Comique between 1743 and 1754.
Landscape with Figures (about 1726–1728) by François BoucherThe J. Paul Getty Museum
These paintings and sketches by Boucher give us an insight into innovations he might have brought to French theatrical productions.
The setting shows a distinct move away from the more formal and rigidly perspectival stage designs that previously held sway in Paris.
Imaginary Landscape with the Palatine Hill from Campo Vaccino (1734) by François BoucherThe Metropolitan Museum of Art
Instead of a clear central space in which the performers would face the audience, Boucher’s pastoral landscape evokes a relaxed yet Arcadian world of tumbledown charm.
Shepherd Piping to a Shepherdess (18th Century) by Francois BoucherThe Wallace Collection
Boucher’s pictures also appear to include a similar elements as set designs, with a sense of theatricality and figures and animals playacting within an idealised and relaxed – yet carefully constructed – space in which the receding landscape elements overlap like stage flats.
The links between the theatre and Boucher’s work as a painter, printmaker and designer for the decorative arts, extended beyond their stage-like settings.
Pastoral with a Bagpipe Player (18th Century) by Francois BoucherThe Wallace Collection
A number of his pastoral figures have a strong relationship to theatrical productions. The characters in the comic pantomime Vendages de Tempé written and first staged in 1745 by Boucher’s friend Charles-Simon Favart (1710–1792), often appear in Boucher’s art.
Lisette the pretty shepherdess from the show, her sister, the disapproving Babette, Lisette’s suitor, the ‘Little Shepherd’ and the comical child shepherd Celadon repeatedly feature as themselves, or in adapted form, in Boucher’s paintings.
Shepherd Piping to a Shepherdess (18th Century) by Francois BoucherThe Wallace Collection
Among the most memorable scenes of Favart’s pantomime and its later adaptations, is the moment when the Little Shepherd teaches Lisette to play the flute. Another is where he feeds her grapes.
Pastoral with a Couple near a Fountain (18th Century) by Francois BoucherThe Wallace Collection
Indeed, the old French titles given to the Wallace paintings, Les raisins. Pensent-ils au raisin? (‘The Grapes. Are they thinking of the grapes?’) and La Couronne accordée au berger (‘The Crown rewarded to the Shepherd’), were interpreted at the time as having erotic overtones.
The feminine charm of Boucher's 'Little Shepherd' type could be a nod to actresses like Justine Favart. Favart's performances, known for their relaxed and colorful rural costumes, likely inspired Boucher's artistic choices.
Pastoral with a Couple near a Fountain (18th Century) by Francois BoucherThe Wallace Collection
Although perhaps Justine’s greatest impact on Boucher’s painting may be the Opéra Comique costumes. She introduced a relaxed, if idealised and highly colourful, form of rural dress to the stage.
This included the actors wearing clogs or going barefoot...
Pastoral with a Bagpipe Player (18th Century) by Francois BoucherThe Wallace Collection
... as well as the copious quantities of ribbons and pretty fabrics. It would be hard to imagine Boucher’s pastorals without these theatrical touches. Learn more about Boucher at the Collection here.
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