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Vignette (Tome I.er, page 164, lib. II, fab. 15), depicting Cephalus and Aurora, from "Les Métamorphoses d'Ovide en Latin et en François de la traduction de M. l'Abbé Banier de l'Académie Royale des Inscriptions et Belles-Lettres. Avec des explications historiques. A Paris Chez Despilly rue saint Jacques à la croix d'or. MDCCLXVII. Avec Approbation et Privilège du Roi"
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Vignette (Tome I.er, page 164, lib. II, fab. 15), depicting Cephalus and Aurora, from "Les Métamorphoses d'Ovide en Latin et en François de la traduction de M. l'Abbé Banier de l'Académie Royale des Inscriptions et Belles-Lettres. Avec des explications historiques. A Paris Chez Despilly rue saint Jacques à la croix d'or. MDCCLXVII. Avec Approbation et Privilège du Roi"

Medium

Etching and engraving; third state of four (Bocher)

Dimensions

Sheet: 7 5/8 × 5 3/16 in. (19.4 × 13.2 cm)

Collection

Metropolitan Museum of Art, New York, NY

Credit

Harris Brisbane Dick Fund, 1917

Classification

Prints

Department

Drawings and Prints

Rights

Public Domain

About François Boucher

1703–1770France

French Rococo artist who epitomizes the frivolous and elegant court life of France in the mid-18th century. During his early career he was closely associated with Watteau, many of whose paintings he engraved. Boucher was a successful and incredibly prolific artistic who had a major impact on both fine and decorative art of the 18th century. He is particularly noted for having reinvented the genre of the pastoral, creating images of shepherds and shepherdesses as sentimental lovers that was taken up in a variety of medium. Boucher's sketchy manner of painting helped to promote painterliness as an end in itself. This trend dominated French painting until the emergence of Neoclassicism, when the tides of criticism turned against Boucher and his followers. French painter, etcher, and draftsman. Comment on works: master draftsman; engraver; set designer