Player of hurdy-gurdy
39.5 x 32 cm
Signed lower left F Boucher (1703-1770)...
Jean-Luc Bordeaux, François Lemoyne and his generation 1688-1737, Paris, Arthena, 1984, p. 137, n° X16 (repr. fig. 115), as rejected to Lemoine and proposes Boucher before 1727.
Florence Gétreau, Watteau and his generation: contribution to the chronology and identification of two pastoral instruments
. De l'Image à l'Objet, Centre d'iconographie musicale et d'organologie (CNRS), 1985, Paris, France,
p. 314, ill. fig. 20 (as Lemoine or Boucher).
Sale Vassal de Saint Hubert, Paris, April 14, 1783, n°51
Sale of the collection of Viscount Beuret, Paris, Georges Petit gallery, November 25, 1924, n° 25
(as attributed to François Boucher). Disappeared from the art market and from the public eye for nearly a century, this work bears witness to Watteau's influence on the young Boucher. A pupil of François Lemoine and marked by the influence of the Venetians Ricci and Pellegrini, Boucher was confronted with the master of gallant parties when he engraved his drawings at the request of Jean de Julienne between 1726 and 1731, just before and just after his stay in Italy.
A revival of interest occurred in 1734-1735 when Boucher gave to engrave his own drawings to illustrate Molière's OEuvres, depicting actors in contemporary costumes. This influence led him to transform his Nordic genre scenes into much more elegant subjects, as shown in La Belle cuisinière (Paris,
Musée Cognacq-Jay), La Jardinière surprise (private collection), Les oies de frère Philippe (gouache fan; Besançon, Musée des Beaux-Arts), the first tapestry cartoon of the Fêtes de village à l'Italienne for Beauvais, woven in 1736, in the subjects painted for the king in his private apartments in the palace of Fontainebleau
between 1735 and 1737 . .