Abstract
Officially, in the Academy's terms, a specialist in the painting of animals and fruits (still life), Chardin was clearly interested in animals. His pictures display a very coherent treatment of the theme which culminated in the celebrated Raie, his academic reception piece, herald of his future career. This enigmatic painting fascinated his contemporaries, probably owing to its subject and most particular mode of representation with its unexpected inherent violence. The article attempts further to elucidate the nature and power of this effect and to link it to the new current of sensibility to the living which began in the 18th century.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
