{"id":37308,"date":"2024-08-06T16:40:43","date_gmt":"2024-08-06T14:40:43","guid":{"rendered":"https:\/\/www.kunsthalle-karlsruhe.de\/?page_id=37308"},"modified":"2026-04-09T14:35:01","modified_gmt":"2026-04-09T12:35:01","slug":"boucher-berger-et-bergere","status":"publish","type":"page","link":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/baldung-in-a-nutshell-2\/boucher-berger-et-bergere\/","title":{"rendered":"Boucher: Berger et berg\u00e8re"},"content":{"rendered":"\t<div class=\"skk-zoom-container\">\n\t\t<header class=\"skk-zoom-nav-header\">\n\t\t\t<div class=\"bgcolor-btn\">\n\t\t\t\t<span class=\"white\"><\/span>\n\t\t\t\t<span class=\"black active\"><\/span>\n\t\t\t<\/div>\n\t\t\t<div class=\"zoom-btn\">\n\t\t\t\t<span id=\"desktop-zoom-out\" class=\"zoom-out\"><\/span>\n\t\t\t\t<span id=\"desktop-zoom-in\" class=\"zoom-in\"><\/span>\n\t\t\t<\/div>\n\t\t\t<div class=\"share-btn\">\n\t\t\t\t<!--<span class=\"share\"><\/span>-->\n\t\t\t\t<a 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data-src=\"#97513c34-b7a0-4820-9bb6-24e22f8d8864-24\" href=\"javascript:;\" class=\"point\" id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-24_point\" style=\"top:calc(17.086330935252% - 20px);left:calc(25.426136363636% - 20px) \"><\/a><a data-fancybox data-src=\"#97513c34-b7a0-4820-9bb6-24e22f8d8864-26\" href=\"javascript:;\" class=\"point\" id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-26_point\" style=\"top:calc(46.402877697842% - 20px);left:calc(37.5% - 20px) \"><\/a><a data-fancybox data-src=\"#97513c34-b7a0-4820-9bb6-24e22f8d8864-27\" href=\"javascript:;\" class=\"point\" id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-27_point\" style=\"top:calc(54.496402877698% - 20px);left:calc(46.590909090909% - 20px) \"><\/a><a data-fancybox data-src=\"#97513c34-b7a0-4820-9bb6-24e22f8d8864-30\" href=\"javascript:;\" class=\"point\" id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-30_point\" style=\"top:calc(60.251798561151% - 20px);left:calc(15.198863636364% - 20px) \"><\/a><a data-fancybox data-src=\"#97513c34-b7a0-4820-9bb6-24e22f8d8864-31\" href=\"javascript:;\" class=\"point\" id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-31_point\" style=\"top:calc(89.568345323741% - 20px);left:calc(22.159090909091% - 20px) \"><\/a><a data-fancybox data-src=\"#97513c34-b7a0-4820-9bb6-24e22f8d8864-32\" href=\"javascript:;\" class=\"point\" id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-32_point\" style=\"top:calc(38.129496402878% - 20px);left:calc(56.534090909091% - 20px) \"><\/a>\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<hr class=\"zoom-footer-line\" \/>\n\t\t<div class=\"skk-zoom-nav-footer\">\n\t\t\t<div class=\"bgcolor-btn\">\n\t\t\t\t<span class=\"white\"><\/span>\n\t\t\t\t<span class=\"black active\"><\/span>\n\t\t\t<\/div>\n\t\t\t<div class=\"zoom-btn\">\n\t\t\t\t<span id=\"mobile-zoom-out\" class=\"zoom-out\"><\/span>\n\t\t\t\t<span id=\"mobile-zoom-in\" class=\"zoom-in\"><\/span>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-24\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Mise en sc\u00e8ne<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Le couple d\u2019amoureux est mis en sc\u00e8ne dans une clairi\u00e8re, entour\u00e9 d\u2019une v\u00e9g\u00e9tation luxuriante. Les tons lumineux dans lesquels les personnages sont repr\u00e9sent\u00e9s contrastent avec les sombres nuances de vert et de brun de l\u2019arri\u00e8re-plan. Boucher s\u2019est inspir\u00e9 de diverses pi\u00e8ces de th\u00e9\u00e2tre de son \u00e9poque pour la composition de ses pastorales, notamment des \u0153uvres de Charles-Simon Favart qui relatent des amours bucoliques et furent interpr\u00e9t\u00e9es par l\u2019\u00e9pouse de l\u2019auteur dramatique, Marie-Justine. Inversement, les \u0153uvres de Boucher ont inspir\u00e9 des groupes de porcelaine fabriqu\u00e9s par la manufacture royale de Vincennes\/S\u00e8vres. On sait par ailleurs que le peintre con\u00e7ut des costumes et d\u00e9cors de th\u00e9\u00e2tre pour l\u2019Op\u00e9ra de Paris \u00e0 partir de 1737.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"f9ff583d-2873-4699-abff-59d247ec84b8-15\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Art paysager<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Boucher repr\u00e9sente feuillage, branches et racines \u00e0 l\u2019aide de coups de pinceau rapides. Quelques rares touches de couleur claire viennent rythmer un environnement relativement sombre. Pour les paysages qu\u2019il peignait dans son atelier, l\u2019artiste reprenait des sujets vus dans la nature \u2014 en particulier celle du nord de la France\u2014 et s\u2019inspirait d\u2019\u0153uvres d\u2019autres peintres \u2014 notamment italiens et n\u00e9erlandais \u2014, tout en introduisant dans ses compositions des \u00e9l\u00e9ments naturels stylis\u00e9s. C\u2019est pourquoi la for\u00eat dans laquelle ces deux personnages ont pris place ne saurait \u00eatre localis\u00e9e dans une r\u00e9gion particuli\u00e8re.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-20\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Mod\u00e8les de fontaines<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>\u00c0 l\u2019arri\u00e8re-plan du tableau, on aper\u00e7oit une fontaine figur\u00e9e dans des tons gris-brun, avec de l\u2019eau s\u2019\u00e9coulant de la bouche d\u2019un dauphin tandis que deux angelots s\u2019amusent sur le socle \u00e9tag\u00e9. On sait que parall\u00e8lement \u00e0 son activit\u00e9 de peintre, Boucher con\u00e7ut des mod\u00e8les de fontaines, ses dessins \u00e9tant reproduits sous formes d\u2019estampes par Gabriel Huquier et Pierre-Alexandre Aveline.<\/p>\n<p>Les angelots comme ceux de la fontaine, inspir\u00e9s de repr\u00e9sentations antiques d\u2019\u00c9ros, le dieu de l\u2019Amour, peuvent avoir plusieurs significations\u00a0: incarnant des anges dans l\u2019iconographie chr\u00e9tienne, ils imitent les adultes dans d\u2019autres contextes. Les deux sp\u00e9cimens sculpt\u00e9s dans la pierre qu\u2019on aper\u00e7oit ici conf\u00e8rent \u00e0 la sc\u00e8ne une touche humoristique.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"f9ff583d-2873-4699-abff-59d247ec84b8-0\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Accessoires d\u00e9coratifs<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Le galant tend le bras pour cueillir une rose destin\u00e9e \u00e0 l\u2019\u00e9lue de son c\u0153ur. S\u2019il ne fait pas de grimace \u00e0 cause des \u00e9pines, c\u2019est tout simplement parce que Boucher a volontairement omis de les repr\u00e9senter, pr\u00e9f\u00e9rant donner une image id\u00e9alis\u00e9e de la nature dans laquelle les fleurs remplissent une fonction d\u00e9corative\u00a0: celles qu\u2019on aper\u00e7oit au sol sont visiblement tomb\u00e9es du panier qui en est plein, tandis que celles qui agr\u00e9mentent le d\u00e9collet\u00e9 de la jolie jeune femme sont de simples accessoires de mode.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-26\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Mode<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Le jeune homme porte une boucle d\u2019oreille en or qui scintille, ce qui met en \u00e9vidence l\u2019int\u00e9r\u00eat de Boucher pour la mode de son \u00e9poque. Alors que les tableaux mythologiques du peintre figurent g\u00e9n\u00e9ralement des hommes muscl\u00e9s, le berger de cette pastorale a l\u2019aspect d\u2019un gentil accompagnateur, habill\u00e9 aussi richement et avec autant de go\u00fbt que sa jeune partenaire. Divers auteurs du XVIII<sup>e<\/sup> si\u00e8cle, notamment Jean-Fran\u00e7ois de Bastide, ont mentionn\u00e9 le fait que les hommes de l\u2019\u00e9lite parisienne se maquillaient \u00e0 l\u2019instar des femmes. Rappelons \u00e0 ce titre que plusieurs pi\u00e8ces de th\u00e9\u00e2tre de l\u2019\u00e9poque font intervenir des travestis et traitent des r\u00f4les de genre.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-27\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Sensualit\u00e9 et sensibilit\u00e9<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>La jolie berg\u00e8re brille par son teint de porcelaine. Seul le rose des pommettes vient relever la p\u00e2leur de la peau, que les amples plis de la robe ne permettent d\u2019apercevoir que sur le visage, le d\u00e9collet\u00e9, les bras et les pieds. Ce d\u00e9tail r\u00e9v\u00e8le \u00e0 quel point Boucher excelle \u00e0 rendre les diverses nuances de la peau, son talent en la mati\u00e8re \u00e9tant encore plus \u00e9vident dans les nus f\u00e9minins qu\u2019il nous a laiss\u00e9s. D\u00e8s le d\u00e9but de sa carri\u00e8re, ses repr\u00e9sentations de la beaut\u00e9 des femmes lui valut le surnom de \u00ab\u00a0peintre des Gr\u00e2ces\u00a0\u00bb. Sur le tableau pr\u00e9sent\u00e9 ici, la jeune femme aux traits juv\u00e9niles suit la main de son compagnon de ses grands yeux bleus qui lui donnent un air r\u00eaveur. Sa t\u00eate l\u00e9g\u00e8rement pench\u00e9e en arri\u00e8re confirme l\u2019impression qu\u2019elle nous donne d\u2019\u00eatre \u00e9prise du jeune homme.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"f9ff583d-2873-4699-abff-59d247ec84b8-13\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Confusion des genres<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Aupr\u00e8s des deux amants se trouvent divers objets \u2014 \u00e9toffe froiss\u00e9e, b\u00e2ton de berger et chapeau de paille pourvu d\u2019un ruban bleu \u2014 figur\u00e9s comme sur une nature morte. Les fleurs qu\u2019on aper\u00e7oit ici et l\u00e0 contribuent elles aussi \u00e0 l\u2019aspect intemporel de la pastorale. Ce type de repr\u00e9sentations figurant des personnages dans un environnement bucolique synth\u00e9tise des \u00e9l\u00e9ments emprunt\u00e9s \u00e0 l\u2019art paysager, \u00e0 la peinture de genre, aux sc\u00e8nes galantes et aux natures mortes. B\u00e9n\u00e9ficiant d\u2019une importance similaire, ces \u00e9l\u00e9ments font de la pastorale une repr\u00e9sentation sans narratif propre, une \u0153uvre dont la seule ambition est de figurer des personnages se d\u00e9lassant dans la nature, une sc\u00e8ne pouvant prendre place aussi bien dans un jardin \u00e0 la fran\u00e7aise du XVIII<sup>e<\/sup> si\u00e8cle que dans un de ces lieux mythiques chant\u00e9s par les po\u00e8tes antiques.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-30\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Pastorale<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Le terme \u00ab\u00a0pastorale\u00a0\u00bb vient du latin <em>pastor <\/em>qui a notamment donn\u00e9 \u00ab\u00a0p\u00e2tre\u00a0\u00bb et \u00ab\u00a0pasteur\u00a0\u00bb en fran\u00e7ais. La repr\u00e9sentation de bergers et berg\u00e8res a une longue tradition derri\u00e8re elle puisqu\u2019elle trouve son origine dans la po\u00e9sie bucolique, notamment celle du Grec Th\u00e9ocrite dont Virgile devait ult\u00e9rieurement s\u2019inspirer. Brebis, ch\u00e8vres et b\u0153ufs sont typiques de ces odes \u00e0 la simplicit\u00e9 de la vie \u00e0 la campagne. C\u2019est ainsi qu\u2019on aper\u00e7oit sur le tableau de Boucher une brebis allong\u00e9e juste derri\u00e8re les deux personnages, qui ne sont visiblement pas troubl\u00e9s dans leur intimit\u00e9 complice par la proximit\u00e9 de l\u2019animal ni son odeur \u00e9ventuelle. La brebis est ici un simple \u00e9l\u00e9ment du d\u00e9cor, un accessoire d\u00e9coratif pour la mise en sc\u00e8ne d\u2019une idylle champ\u00eatre.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"f9ff583d-2873-4699-abff-59d247ec84b8-9\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Narratif contradictoire<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Le jeune berger tend son pied nu vers nous d\u2019une mani\u00e8re presque provocante, le fait que lui et sa compagne ne portent pas de chaussures venant ainsi contredire la pr\u00e9ciosit\u00e9 de leurs atours. Boucher entendait certes souligner ainsi que les deux personnages sont en contact \u00e9troit avec la nature, mais cet air de va-nu-pieds ne correspond pas aux habits qui, au contraire, sugg\u00e8rent l\u2019appartenance \u00e0 la bonne soci\u00e9t\u00e9. Ce qui poussa d\u00e9j\u00e0 certains contemporains du peintre \u00e0 critiquer le caract\u00e8re artificiel de ses pastorales et \u00e0 \u00e9mettre l\u2019opinion qu\u2019elles relevaient de la mascarade. Tel fut notamment le cas de Denis Diderot, qui exprima son indignation au Salon de 1765 en d\u00e9clarant\u00a0: \u00ab\u00a0Ne me tirerai-je jamais de ces maudites pastorales\u00a0?\u00a0\u00bb.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-31\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Contexte de l\u2019acquisition<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>La margravine Caroline-Louise de Bade acquit les deux pastorales de Boucher en 1760 par l\u2019interm\u00e9diaire de Jean-Henri Eberts, son agent artistique \u00e0 Paris. La premi\u00e8re toile arriva \u00e0 Karlsruhe en mai 1760, la seconde au mois de juin suivant. La princesse exprima alors son enthousiasme en \u00e9crivant \u00e0 Eberts\u00a0: \u00ab\u00a0Le second tabl[eau] de mr. Boucher vient d\u2019arriver tr\u00e8s heureusement, j\u2019ai \u00e9t\u00e9 fort contente du premier, mais je le suis bien plus encore de celui-ci. Il est frais, admirable et d\u2019une bien bonne couleur. Faites-en mes remerci[e]mens \u00e0 Mr. Boucher et dites-lui s\u2019il vous pla[\u00ee]t qu\u2019il a r\u00e9ellement enrichi mon cabinet par ses beaux ouvrages.\u00a0\u00bb<\/p>\n<p>Les dessins \u00e0 la sanguine qui reprennent la composition de ces deux tableaux et font partie de la collection de la Kunsthalle pourraient \u00eatre dus \u00e0 Caroline-Louise. On sait en effet que la margravine copia plusieurs des \u0153uvres qu\u2019elle avait acquises pour son cabinet.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"89bc4af0-a090-471b-85af-4c0af23e309c-19\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Commanditaire<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Le petit chien que la jeune berg\u00e8re tient en laisse avec un ruban de soie bleu est un phal\u00e8ne, sorte d\u2019\u00e9pagneul nain. Il la regarde comme un brave toutou, montrant ainsi qu\u2019il est moins l\u00e0 pour la prot\u00e9ger que pour jouer avec elle.<\/p>\n<p>La correspondance de la margravine Caroline-Louise de Bade avec Jean-Henri Eberts, son agent artistique, r\u00e9v\u00e8le que la princesse affectionnait particuli\u00e8rement les tableaux figurant des animaux ainsi que des personnages entour\u00e9s de fleurs et figur\u00e9s pr\u00e8s d\u2019un ruisseau, tous ces \u00e9l\u00e9ments iconographiques \u00e9tant typiques de la pastorale. Dans ses lettres \u00e0 la princesse, Eberts pr\u00e9senta <em>Deux berg\u00e8res <\/em>ainsi que <em>Berger et berg\u00e8re <\/em>comme des chefs-d\u2019\u0153uvre de Boucher, de sorte que la margravine en fit l\u2019acquisition pour la somme de six-cents livres pour chacune des toiles. Bien que cette somme f\u00fbt coquette, la facture pr\u00e9cisait qu\u2019un des deux tableaux n\u2019\u00e9tait pas verni et qu\u2019il devrait l\u2019\u00eatre, apr\u00e8s sa livraison \u00e0 Karlsruhe, en utilisant la petite bouteille de vernis fournie avec l\u2019\u0153uvre.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"97513c34-b7a0-4820-9bb6-24e22f8d8864-32\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Absence de narratif<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>\u00ab\u00a0Ce serait un petit \u00a0compos\u00e9 de gr\u00e2ces, de\u00a0 tendresse, d\u2019ingu\u00e9nuit\u00e9 et \u00a0de go\u00fbt\u00a0\u00bb : c\u2019est en ces termes que le marchand d\u2019art Jean-Henri Eberts annon\u00e7a dans une lettre \u00e0 la margravine Caroline-Louise de Bade la livraison prochaine d\u2019un des deux tableaux qu\u2019elle avait command\u00e9s. Cette toile ne raconte pas une histoire \u00e0 proprement parler mais se contente de repr\u00e9senter deux amoureux fictifs dans un d\u00e9cor naturel. Le jeune homme cueillant une fleur et sa compagne tendrement appuy\u00e9e contre lui composent ici une ode \u00e0 l\u2019amour. Comme les autres pastorales, cette toile est une mascarade po\u00e9tique reposant sur des demi-v\u00e9rit\u00e9s, l\u2019innocence apparente des deux personnages n\u2019\u00e9tant pas d\u00e9nu\u00e9e d\u2019un certain \u00e9rotisme.<\/p>\n    <\/div>\n<\/div>\n\n\n<div id=\"f9ff583d-2873-4699-abff-59d247ec84b8-11\" class=\"popup-block\">\n    <div class=\"popup-title\">\n        <div class=\"popup-title_red-dot\"><\/div>\n        <div class=\"popup-title_image-title\">Tissus et propri\u00e9t\u00e9s des mat\u00e9riaux<\/div>\n        <div class=\"popup-image_hr\"><\/div>\n        <div class=\"popup-title_detail\"><\/div>\n    <\/div>\n    <div class=\"popup-content\">\n<p>Les tons clairs de la robe de la berg\u00e8re sont particuli\u00e8rement lumineux et illustrent le talent de Boucher \u00e0 rendre les propri\u00e9t\u00e9s de divers mat\u00e9riaux.\u00a0L\u2019opulence du drap\u00e9 et les ondulations du tissu g\u00e9n\u00e8rent un certain dynamisme et rappellent les circonvolutions typiques des coquillages, qu\u2019on retrouve sur les ornements asym\u00e9triques de type rocaille\u00a0\u00e0 l\u2019origine du terme \u00ab\u00a0rococo\u00a0\u00bb. Boucher, qui poss\u00e9dait une riche collection de curiosit\u00e9s naturelles, y puisa assur\u00e9ment une partie de son inspiration, puisque nombre de ses compositions figurent des coquillages.<\/p>\n    <\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":23706,"parent":39726,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-art-of.php","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-37308","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/pages\/37308","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/comments?post=37308"}],"version-history":[{"count":1,"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/pages\/37308\/revisions"}],"predecessor-version":[{"id":69998,"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/pages\/37308\/revisions\/69998"}],"up":[{"embeddable":true,"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/pages\/39726"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/media\/23706"}],"wp:attachment":[{"href":"https:\/\/www.kunsthalle-karlsruhe.de\/fr\/wp-json\/wp\/v2\/media?parent=37308"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}