food in the arts




BOUCHER, François/ ARTISTS 1650-1899/ ART MAIN

film and food

(b. 1703, Paris. d. 1770, Paris)

literature and food 

The Afternoon Meal

music and food

photography and food

Les dessins de François Boucher – 

The Drawings of Francois Boucher – 

Francois Boucher. Einweihungsbilder…. – 

French cuisine 
The Afternoon Meal
Oil on canvas, 81,5 x 65,5 cm
Musée du Louvre, Paris







A diagonal light casts strong shadows on the intimate urban scene in a richly decorated room. It is supposed that the figures represent the artist’s family.

Boucher was a French Rococo painter, engraver, and designer, who best embodied the frivolity and elegant superficiality of French court life at the middle of the 18th century. He was for a short time a pupil of François Lemoyne and in his early years was closely connected with Watteau, many of whose pictures he engraved. In 1727-31 he was in Italy, and on his return was soon busy as a versatile fashionable artist. His career was hugely successful and he received many honours, becoming Director of the Gobelins factory in 1755 and Director of the Academy and King’s Painter in 1765. He was also the favourite artist of Louis XV’s most famous mistress, Mme de Pompadour, to whom he gave lessons and whose portrait he painted several times (Wallace Collection, London; National Gallery, Edinburgh).

Boucher mastered every branch of decorative and illustrative painting, from colossal schemes of decoration for the royal châteaux of Versailles, Fontainebleau, Marly, and Bellevue, to designs for fans and slippers. In his typical paintings he turned the traditional mythological themes into wittily indecorous scènes galantes, and he painted female flesh with a delightfully healthy sensuality, notably in the celebrated Reclining Girl (Alte Pinakothek, Munich. 1751), which probably represents Louis XV’s mistress Louisa O’Murphy. Towards the end of his career, as French taste changed in the direction of Neoclassicism, Boucher was attacked, notably by Diderot, for his stereotyped colouring and artificiality; he relied on his own repertory of motifs instead of painting from the life and objected to nature on the grounds that it was ‘too green and badly lit’. Certainly his work often shows the effects of superficiality and overproduction, but at its best it has irresistible charm and great brilliance of execution. qualities he passed on to his most important pupil, Fragonard.