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Jean Siméon Chardin

March 03, 2023

Jean Siméon Chardin (French: [ʒɑ̃ simeɔ̃ ʃaʁdɛ̃]; November 2, 1699 – December 6, 1779[1]) was an 18th-century French painter.[2] He is considered a master of still life,[3] and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities. Carefully balanced composition, soft diffusion of light, and granular impasto characterize his work.

Jean Siméon Chardin
Self-portrait, 1771, pastel, Louvre
Born(1699-11-02)2 November 1699
Rue de Seine, Paris, France
Died6 December 1779(1779-12-06) (aged 80)
Louvre, Paris, France
Resting placeSaint-Germain l'Auxerrois
NationalityFrench
EducationPierre-Jacques Cazes, Noël-Nicolas Coypel, Académie de Saint-Luc
Known forPainting: still life and genre
Notable work
MovementBaroque, Rococo
Patron(s)Louis XV

Life

Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.[4]

Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731.[5] He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicolas Coypel, and in 1724 became a master in the Académie de Saint-Luc.

According to one nineteenth-century writer, at a time when it was hard for unknown painters to come to the attention of the Royal Academy, he first found notice by displaying a painting at the "small Corpus Christi" (held eight days after the regular one) on the Place Dauphine (by the Pont Neuf). Van Loo, passing by in 1720, bought it and later assisted the young painter.[6]

 
Self Portrait at an Easel (ca. 1779), pastel, 40.5 x 32.5 cm., Louvre

Upon presentation of The Ray and The Buffet in 1728, he was admitted to the Académie Royale de Peinture et de Sculpture.[7] The following year he ceded his position in the Académie de Saint-Luc. He made a modest living by "produc[ing] paintings in the various genres at whatever price his customers chose to pay him",[8] and by such work as the restoration of the frescoes at the Galerie François I at Fontainebleau in 1731.[9]

In November 1731 his son Jean-Pierre was baptized, and a daughter, Marguerite-Agnès, was baptized in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agnès had died as well.[5]

Beginning in 1737 Chardin exhibited regularly at the Salon. He would prove to be a "dedicated academician",[4] regularly attending meetings for fifty years, and functioning successively as counsellor, treasurer, and secretary, overseeing in 1761 the installation of Salon exhibitions.[10]

 
Françoise-Marguerite Pouget (1707-1791), 2nd wife of Chardin (1775), pastel, 46 x 38 cm., Louvre

Chardin's work gained popularity through reproductive engravings of his genre paintings (made by artists such as François-Bernard Lépicié and P.-L. Sugurue), which brought Chardin income in the form of "what would now be called royalties".[11] In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The union brought a substantial improvement in Chardin's financial circumstances. In 1745 a daughter, Angélique-Françoise, was born, but she died in 1746.

In 1752 Chardin was granted a pension of 500 livres by Louis XV. In 1756 Chardin returned to the subject of the still life. At the Salon of 1759 he exhibited nine paintings; it was the first Salon to be commented upon by Denis Diderot, who would prove to be a great admirer and public champion of Chardin's work.[12] Beginning in 1761, his responsibilities on behalf of the Salon, simultaneously arranging the exhibitions and acting as treasurer, resulted in a diminution of productivity in painting, and the showing of 'replicas' of previous works.[13] In 1763 his services to the Académie were acknowledged with an extra 200 livres in pension. In 1765 he was unanimously elected associate member of the Académie des Sciences, Belles-Lettres et Arts of Rouen, but there is no evidence that he left Paris to accept the honor.[13] By 1770 Chardin was the 'Premier peintre du roi', and his pension of 1,400 livres was the highest in the academy.[14] In the 1770s his eyesight weakened and he took to painting in pastels, a medium in which he executed portraits of his wife and himself (see Self-portrait at top right). His works in pastels are now highly valued.[15]

In 1772 Chardin's son, also a painter, drowned in Venice, a probable suicide.[14] The artist's last known oil painting was dated 1776; his final Salon participation was in 1779, and featured several pastel studies. Gravely ill by November of that year, he died in Paris on December 6, at the age of 80.

Work

 
Jar of Apricots (1758), oil on canvas, 57 x 51 cm., Art Gallery of Ontario
 
The Sliced Melon (1760), oil on canvas, 57 x 52 cm., Louvre

Chardin worked very slowly and painted only slightly more than 200 pictures (about four a year) in total.[16]

Chardin's work had little in common with the Rococo painting that dominated French art in the 18th century. At a time when history painting was considered the supreme classification for public art, Chardin's subjects of choice were viewed as minor categories.[4] He favored simple yet beautifully textured still lifes, and sensitively handled domestic interiors and genre paintings. Simple, even stark, paintings of common household items (Still Life with a Smoker's Box) and an uncanny ability to portray children's innocence in an unsentimental manner (Boy with a Top [right]) nevertheless found an appreciative audience in his time, and account for his timeless appeal.

Largely self-taught, Chardin was greatly influenced by the realism and subject matter of the 17th-century Low Country masters. Despite his unconventional portrayal of the ascendant bourgeoisie, early support came from patrons in the French aristocracy, including Louis XV. Though his popularity rested initially on paintings of animals and fruit, by the 1730s he introduced kitchen utensils into his work (The Copper Cistern, ca. 1735, Louvre). Soon figures populated his scenes as well, supposedly in response to a portrait painter who challenged him to take up the genre.[17] Woman Sealing a Letter (ca. 1733), which may have been his first attempt,[18] was followed by half-length compositions of children saying grace, as in Le Bénédicité, and kitchen maids in moments of reflection. These humble scenes deal with simple, everyday activities, yet they also have functioned as a source of documentary information about a level of French society not hitherto considered a worthy subject for painting.[19] The pictures are noteworthy for their formal structure and pictorial harmony.[4] Chardin said about painting, "Who said one paints with colors? One employs colors, but one paints with feeling."[20]

A child playing was a favourite subject of Chardin. He depicted an adolescent building a house of cards on at least four occasions. The version at Waddesdon Manor is the most elaborate. Scenes such as these derived from 17th-century Netherlandish vanitas works, which bore messages about the transitory nature of human life and the worthlessness of material ambitions, but Chardin's also display a delight in the ephemeral phases of childhood for their own sake.[21]

Chardin frequently painted replicas of his compositions—especially his genre paintings, nearly all of which exist in multiple versions which in many cases are virtually indistinguishable.[22] Beginning with The Governess (1739, in the National Gallery of Canada, Ottawa), Chardin shifted his attention from working-class subjects to slightly more spacious scenes of bourgeois life.[23] Chardin's extant paintings, which number about 200,[8] are in many major museums, including the Louvre.

Influence

 
Enameled box and other objects painted after the style of Chardin

Chardin's influence on the art of the modern era was wide-ranging and has been well-documented.[24] Édouard Manet's half-length Boy Blowing Bubbles and the still lifes of Paul Cézanne are equally indebted to their predecessor.[25] He was one of Henri Matisse's most admired painters; as an art student Matisse made copies of four Chardin paintings in the Louvre.[26] Chaïm Soutine's still lifes looked to Chardin for inspiration, as did the paintings of Georges Braque, and later, Giorgio Morandi.[25] In 1999 Lucian Freud painted and etched several copies after The Young Schoolmistress (National Gallery, London).[27]

Marcel Proust, in the chapter "How to open your eyes?" from In Search of Lost Time (À la recherche du temps perdu), describes a melancholic young man sitting at his simple breakfast table. The only comfort he finds is in the imaginary ideas of beauty depicted in the great masterpieces of the Louvre, materializing fancy palaces, rich princes, and the like. The author tells the young man to follow him to another section of the Louvre where the pictures of Chardin are. There he would see the beauty in still life at home and in everyday activities like peeling turnips.

Gallery

See also

Notes

  1. ^ Jean Siméon Chardin at the Encyclopædia Britannica
  2. ^ The name "Baptiste" was erroneously added to his name through a notarial mistake. See the documentation in Rosenberg, Chardin, 1699–1779 (1979), 406.
  3. ^ "Jean Baptiste Simeon Chardin". artchive.com.
  4. ^ a b c d . Archived from the original on 12 March 2001.
  5. ^ a b Rosenberg p. 179.
  6. ^ Fournier, Edouard (1862). "Histoire du Pont-Neuf". google.com.
  7. ^ "Jean Siméon Chardin". National Gallery of Art. Retrieved 25 May 2020.
  8. ^ a b Rosenberg and Bruyant, p. 56.
  9. ^ Rosenberg and Bruyant, p. 20.
  10. ^ Rosenberg and Bruyant, p. 23.
  11. ^ Rosenberg and Bruyant, p. 32.
  12. ^ Rosenberg, p.182.
  13. ^ a b Rosenberg, p.183.
  14. ^ a b Rosenberg, p.184.
  15. ^ "WebMuseum: Chardin, Jean-Baptiste-Siméon". ibiblio.org.
  16. ^ Morris, Roderick Conway (22 December 2010). "Chardin's Enchanting and Ageless Moments". The New York Times. Archived from the original on 1 January 2022. Retrieved 24 December 2010.
  17. ^ Rosenberg, p. 71.
  18. ^ Rosenberg and Bruyant, p. 190.
  19. ^ Chardin at the Museo Thyssen-Bornemisza 2007-09-27 at the Wayback Machine Retrieved 15 July 2007.
  20. ^ Johnson, Paul. Art: A New History, Weidenfeld & Nicolson, 2003, p. 414.
  21. ^ "Search Results". collection.waddesdon.org.uk. Retrieved 12 April 2017.
  22. ^ Rosenberg and Bruyant, pp. 68–70.
  23. ^ Rosenberg and Bruyant, pp. 187 and 242.
  24. ^ "Without realizing he was doing it, he rejected his own time and opened the door to modernity". Rosenberg, cited by Wilkin, Karen, The Splendid Chardin, New Criterion. Requires subscription. Retrieved 15 October 2008.
  25. ^ a b Wilkin.
  26. ^ The Unknown Matisse: A Life of Henri Matisse, the Early Years, 1869–1908, Hilary Spurling, p.86. accessed online July 15, 2007
  27. ^ Smee, Sebastian, Lucian Freud 1996-2005, illustrated. Alfred A. Knopf, 2005.

References

  • ArtCyclopedia: Jean-Baptiste Siméon Chardin.
  • Rosenberg, Pierre (1979). Chardin, 1699–1779 (exposition catalogue). Paris; Cleveland, OH: Édition de la Réunion des musées nationales; Cleveland Museum of Arts. ISBN 0-910-386-48-X. OCLC 1148189380 – via the Internet Archive.
  • Rosenberg, Pierre (2000), Chardin. Munich: Prestel. ISBN 9783791323398.
  • Rosenberg, Pierre, and Florence Bruyant (2000), Chardin. London: Royal Academy of Arts. ISBN 0-900946-83-0.

External links

  Media related to Jean Siméon Chardin at Wikimedia Commons

  • Chardin exhibition at the Metropolitan Museum of Art
  • Getty Museum: Chardin.
  • WebMuseum: Jean-Baptiste-Siméon Chardin.
  • Jean-Baptiste-Simeon-Chardin.org 124 works by Jean Siméon Chardin.
  • Artcylopedia: Jean-Baptiste Siméon Chardin - identifies where Chardin's work is in galleries and museums around the world.
  • Web Gallery of Art: Chardin.
  • Neil Jeffares, Dictionary of pastellists before 1800, online edition
  • Chardin, Boy Building a House of Cards at Waddesdon Manor

March 03, 2023
jean, siméon, chardin, this, article, expanded, with, text, translated, from, corresponding, article, french, april, 2015, click, show, important, translation, instructions, view, machine, translated, version, french, article, machine, translation, like, deepl. This article may be expanded with text translated from the corresponding article in French April 2015 Click show for important translation instructions View a machine translated version of the French article Machine translation like DeepL or Google Translate is a useful starting point for translations but translators must revise errors as necessary and confirm that the translation is accurate rather than simply copy pasting machine translated text into the English Wikipedia Do not translate text that appears unreliable or low quality If possible verify the text with references provided in the foreign language article You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at fr Jean Simeon Chardin see its history for attribution You should also add the template Translated fr Jean Simeon Chardin to the talk page For more guidance see Wikipedia Translation Jean Simeon Chardin French ʒɑ simeɔ ʃaʁdɛ November 2 1699 December 6 1779 1 was an 18th century French painter 2 He is considered a master of still life 3 and is also noted for his genre paintings which depict kitchen maids children and domestic activities Carefully balanced composition soft diffusion of light and granular impasto characterize his work Jean Simeon ChardinSelf portrait 1771 pastel LouvreBorn 1699 11 02 2 November 1699Rue de Seine Paris FranceDied6 December 1779 1779 12 06 aged 80 Louvre Paris FranceResting placeSaint Germain l AuxerroisNationalityFrenchEducationPierre Jacques Cazes Noel Nicolas Coypel Academie de Saint LucKnown forPainting still life and genreNotable workThe Ray Soap Bubbles Saying GraceMovementBaroque RococoPatron s Louis XV Contents 1 Life 2 Work 3 Influence 4 Gallery 5 See also 6 Notes 7 References 8 External linksLife EditChardin was born in Paris the son of a cabinetmaker and rarely left the city He lived on the Left Bank near Saint Sulpice until 1757 when Louis XV granted him a studio and living quarters in the Louvre 4 Chardin entered into a marriage contract with Marguerite Saintard in 1723 whom he did not marry until 1731 5 He served apprenticeships with the history painters Pierre Jacques Cazes and Noel Nicolas Coypel and in 1724 became a master in the Academie de Saint Luc According to one nineteenth century writer at a time when it was hard for unknown painters to come to the attention of the Royal Academy he first found notice by displaying a painting at the small Corpus Christi held eight days after the regular one on the Place Dauphine by the Pont Neuf Van Loo passing by in 1720 bought it and later assisted the young painter 6 Self Portrait at an Easel ca 1779 pastel 40 5 x 32 5 cm LouvreUpon presentation of The Ray and The Buffet in 1728 he was admitted to the Academie Royale de Peinture et de Sculpture 7 The following year he ceded his position in the Academie de Saint Luc He made a modest living by produc ing paintings in the various genres at whatever price his customers chose to pay him 8 and by such work as the restoration of the frescoes at the Galerie Francois I at Fontainebleau in 1731 9 In November 1731 his son Jean Pierre was baptized and a daughter Marguerite Agnes was baptized in 1733 In 1735 his wife Marguerite died and within two years Marguerite Agnes had died as well 5 Beginning in 1737 Chardin exhibited regularly at the Salon He would prove to be a dedicated academician 4 regularly attending meetings for fifty years and functioning successively as counsellor treasurer and secretary overseeing in 1761 the installation of Salon exhibitions 10 Francoise Marguerite Pouget 1707 1791 2nd wife of Chardin 1775 pastel 46 x 38 cm Louvre Chardin s work gained popularity through reproductive engravings of his genre paintings made by artists such as Francois Bernard Lepicie and P L Sugurue which brought Chardin income in the form of what would now be called royalties 11 In 1744 he entered his second marriage this time to Francoise Marguerite Pouget The union brought a substantial improvement in Chardin s financial circumstances In 1745 a daughter Angelique Francoise was born but she died in 1746 In 1752 Chardin was granted a pension of 500 livres by Louis XV In 1756 Chardin returned to the subject of the still life At the Salon of 1759 he exhibited nine paintings it was the first Salon to be commented upon by Denis Diderot who would prove to be a great admirer and public champion of Chardin s work 12 Beginning in 1761 his responsibilities on behalf of the Salon simultaneously arranging the exhibitions and acting as treasurer resulted in a diminution of productivity in painting and the showing of replicas of previous works 13 In 1763 his services to the Academie were acknowledged with an extra 200 livres in pension In 1765 he was unanimously elected associate member of the Academie des Sciences Belles Lettres et Arts of Rouen but there is no evidence that he left Paris to accept the honor 13 By 1770 Chardin was the Premier peintre du roi and his pension of 1 400 livres was the highest in the academy 14 In the 1770s his eyesight weakened and he took to painting in pastels a medium in which he executed portraits of his wife and himself see Self portrait at top right His works in pastels are now highly valued 15 In 1772 Chardin s son also a painter drowned in Venice a probable suicide 14 The artist s last known oil painting was dated 1776 his final Salon participation was in 1779 and featured several pastel studies Gravely ill by November of that year he died in Paris on December 6 at the age of 80 Work Edit Jar of Apricots 1758 oil on canvas 57 x 51 cm Art Gallery of Ontario The Sliced Melon 1760 oil on canvas 57 x 52 cm Louvre Chardin worked very slowly and painted only slightly more than 200 pictures about four a year in total 16 Chardin s work had little in common with the Rococo painting that dominated French art in the 18th century At a time when history painting was considered the supreme classification for public art Chardin s subjects of choice were viewed as minor categories 4 He favored simple yet beautifully textured still lifes and sensitively handled domestic interiors and genre paintings Simple even stark paintings of common household items Still Life with a Smoker s Box and an uncanny ability to portray children s innocence in an unsentimental manner Boy with a Top right nevertheless found an appreciative audience in his time and account for his timeless appeal Largely self taught Chardin was greatly influenced by the realism and subject matter of the 17th century Low Country masters Despite his unconventional portrayal of the ascendant bourgeoisie early support came from patrons in the French aristocracy including Louis XV Though his popularity rested initially on paintings of animals and fruit by the 1730s he introduced kitchen utensils into his work The Copper Cistern ca 1735 Louvre Soon figures populated his scenes as well supposedly in response to a portrait painter who challenged him to take up the genre 17 Woman Sealing a Letter ca 1733 which may have been his first attempt 18 was followed by half length compositions of children saying grace as in Le Benedicite and kitchen maids in moments of reflection These humble scenes deal with simple everyday activities yet they also have functioned as a source of documentary information about a level of French society not hitherto considered a worthy subject for painting 19 The pictures are noteworthy for their formal structure and pictorial harmony 4 Chardin said about painting Who said one paints with colors One employs colors but one paints with feeling 20 A child playing was a favourite subject of Chardin He depicted an adolescent building a house of cards on at least four occasions The version at Waddesdon Manor is the most elaborate Scenes such as these derived from 17th century Netherlandish vanitas works which bore messages about the transitory nature of human life and the worthlessness of material ambitions but Chardin s also display a delight in the ephemeral phases of childhood for their own sake 21 Chardin frequently painted replicas of his compositions especially his genre paintings nearly all of which exist in multiple versions which in many cases are virtually indistinguishable 22 Beginning with The Governess 1739 in the National Gallery of Canada Ottawa Chardin shifted his attention from working class subjects to slightly more spacious scenes of bourgeois life 23 Chardin s extant paintings which number about 200 8 are in many major museums including the Louvre Influence Edit Enameled box and other objects painted after the style of Chardin Chardin s influence on the art of the modern era was wide ranging and has been well documented 24 Edouard Manet s half length Boy Blowing Bubbles and the still lifes of Paul Cezanne are equally indebted to their predecessor 25 He was one of Henri Matisse s most admired painters as an art student Matisse made copies of four Chardin paintings in the Louvre 26 Chaim Soutine s still lifes looked to Chardin for inspiration as did the paintings of Georges Braque and later Giorgio Morandi 25 In 1999 Lucian Freud painted and etched several copies after The Young Schoolmistress National Gallery London 27 Marcel Proust in the chapter How to open your eyes from In Search of Lost Time A la recherche du temps perdu describes a melancholic young man sitting at his simple breakfast table The only comfort he finds is in the imaginary ideas of beauty depicted in the great masterpieces of the Louvre materializing fancy palaces rich princes and the like The author tells the young man to follow him to another section of the Louvre where the pictures of Chardin are There he would see the beauty in still life at home and in everyday activities like peeling turnips Gallery Edit Dead Rabbit and Hunting Gear ca 1727 oil on canvas 81 x 65 cm Louvre The Ray 1727 oil on canvas 114 5 x 146 cm Louvre Glass Flask and Fruit ca 1728 oil on canvas 55 7 x 46 cm Staatliche Kunsthalle Karlsruhe The Attributes of Exploration 1731 oil on canvas 141 x 219 cm Musee Jacquemart Andre Sealing the Letter 1733 oil on canvas 146 x 147 cm Schloss Charlottenburg Soap Bubbles ca 1733 1734 oil on canvas 93 x 74 6 cm National Gallery of Art The Drawing Lesson ca 1734 oil on canvas 41 47 cm Tokyo Fuji Art Museum The Draftsman 1737 oil on canvas 80 x 65 cm Louvre Woman Cleaning Turnips ca 1738 oil on canvas 46 2 x 37 cm Alte Pinakothek The Return from the Market 1738 39 oil on canvas 47 x 38 cm Louvre The Governess 1739 oil on canvas 47 x 38 cm National Gallery of Canada Portrait of Auguste Gabriel Godefroy 1741 oil on canvas 64 5 x 76 5 cm Sao Paulo Museum of Art Saying Grace 1744 oil on canvas 50 x 38 cm Hermitage Museum The Attentive Nurse 1747 oil on canvas 46 2 x 37 cm National Gallery of Art The Good Education ca 1753 oil on canvas 43 x 47 3 cm Museum of Fine Arts Houston The Preparations of a Lunch 1756 oil on canvas 38 46 cm Musee des Beaux Arts de Carcassonne A Basket of Wild Strawberries ca 1760 oil on canvas 38 x 46 cm private collection La Brioche 1763 oil on canvas 47 x 56 cm Louvre Basket of Plums 1765 oil on canvas 32 4 x 41 9 cm Chrysler Museum of Art Still Life with Attributes of the Arts 1766 oil on canvas 112 x 140 5 cm Hermitage Museum Basket of Peaches with Walnuts Knife and Glass of Wine 1768 oil on canvas 32 x 39 cm Louvre Still Life with Fish and Vegetables 1769 oil on canvas 68 6 x 58 4 cm J Paul Getty MuseumSee also EditThe Attributes of Civilian and Military Music Soap Bubbles painting Notes Edit Jean Simeon Chardin at the Encyclopaedia Britannica The name Baptiste was erroneously added to his name through a notarial mistake See the documentation in Rosenberg Chardin 1699 1779 1979 406 Jean Baptiste Simeon Chardin artchive com a b c d The Metropolitan Museum of Art Special Exhibitions Archived from the original on 12 March 2001 a b Rosenberg p 179 Fournier Edouard 1862 Histoire du Pont Neuf google com Jean Simeon Chardin National Gallery of Art Retrieved 25 May 2020 a b Rosenberg and Bruyant p 56 Rosenberg and Bruyant p 20 Rosenberg and Bruyant p 23 Rosenberg and Bruyant p 32 Rosenberg p 182 a b Rosenberg p 183 a b Rosenberg p 184 WebMuseum Chardin Jean Baptiste Simeon ibiblio org Morris Roderick Conway 22 December 2010 Chardin s Enchanting and Ageless Moments The New York Times Archived from the original on 1 January 2022 Retrieved 24 December 2010 Rosenberg p 71 Rosenberg and Bruyant p 190 Chardin at the Museo Thyssen Bornemisza Archived 2007 09 27 at the Wayback Machine Retrieved 15 July 2007 Johnson Paul Art A New History Weidenfeld amp Nicolson 2003 p 414 Search Results collection waddesdon org uk Retrieved 12 April 2017 Rosenberg and Bruyant pp 68 70 Rosenberg and Bruyant pp 187 and 242 Without realizing he was doing it he rejected his own time and opened the door to modernity Rosenberg cited by Wilkin Karen The Splendid Chardin New Criterion Requires subscription Retrieved 15 October 2008 a b Wilkin The Unknown Matisse A Life of Henri Matisse the Early Years 1869 1908 Hilary Spurling p 86 accessed online July 15 2007 Smee Sebastian Lucian Freud 1996 2005 illustrated Alfred A Knopf 2005 References EditArtCyclopedia Jean Baptiste Simeon Chardin Rosenberg Pierre 1979 Chardin 1699 1779 exposition catalogue Paris Cleveland OH Edition de la Reunion des musees nationales Cleveland Museum of Arts ISBN 0 910 386 48 X OCLC 1148189380 via the Internet Archive Rosenberg Pierre 2000 Chardin Munich Prestel ISBN 9783791323398 Rosenberg Pierre and Florence Bruyant 2000 Chardin London Royal Academy of Arts ISBN 0 900946 83 0 External links Edit Media related to Jean Simeon Chardin at Wikimedia Commons Chardin exhibition at the Metropolitan Museum of Art Getty Museum Chardin WebMuseum Jean Baptiste Simeon Chardin Jean Baptiste Simeon Chardin org 124 works by Jean Simeon Chardin Artcylopedia Jean Baptiste Simeon Chardin identifies where Chardin s work is in galleries and museums around the world Web Gallery of Art Chardin Neil Jeffares Dictionary of pastellists before 1800 online edition Chardin Boy Building a House of Cards at Waddesdon Manor Retrieved from https en wikipedia org w index php title Jean Simeon Chardin amp oldid 1128212465, wikipedia, wiki, book, books, library,

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