Boucher is the typical Rococo painter. The French writer Goncourt thought Boucher was a painter who had set a model for a-century art, given its character, image and made it. In his early years, Boucher followed Francois Lemoyne to study painting and had close contact with Watteau. Between 1727 and 1731, Boucher stayed in Rome and learned from the works of decorative painters Tiepolo and Albani. In 1755, Boucher began to act as the director of Royal Goblins Factory. After 1765, Boucher served as the court painter, and became the painting teacher and the most favorite painter of Mme de Pompadour. Boucher’s paintings were full of pretense of the wind and the formation of this style reflected the change of the French court art.
The classical art during Louis XIV period had been replaced by the emerging Rococo style. The French King Louis XV, his mistress Mrs. Ponbadu and the large and small nobilities had indulged in this fun, who prefered a beautiful color and exquisite decorative style. Rococo came from the French rococo, referring to Rock-work made of shells and pebbles. During Baroque period, Italian palace had such decoration. It was worth mentioning that Rococo was accompanied by the classical condemnation. In the middle of the 18th century, according to the standards of Witt Ruwee in “Suggestions about imitation of Greek works in building, sculpture and painting”, Winckelmann criticized the fashionable decoration and said, “Since Witt Ruwee compliantly blamed the fallen decoration, in modern times it is even worse. In the current decoration, its taste can be made pure and obtained the real significance through more thorough research. Our rolled scroll and beautiful shell decoration (the current decorations can not work without them) are a little more unnatural than the candle holders supporting small castle and palace denounced by Witt Ruwee.” Thus Winckelmann sorted “rocaille” out and took it as the feature of that style.
About Rococo, there was another argument: in David’s studio, some of his disciples said in a radical criticism, “Van Loo,Pompadour,rococo.” In fact, although Boucher Rococo paintings met and satisfied the society’s spiritual needs, Boucher still attracted the discontent of some uninterested critics and painters. In the aftermath of 1760 French art change, Diderot seriously criticized Boucher’s art. His stylized color processing and artificial sentimental place aroused Reynolds’s accusations. As a famous painter, Boucher had many obvious shortcomings, but as a decorative painter, Boucher really had a wealth of experience and strengths and accurately captured the most popular fashion. And he played such romantic elegant and fragrant fat colorful life into most incisive in the rest of his life.