成對繪畫與對比：弗朗索瓦・布歇和讓・巴蒂斯特・瑪麗・皮埃爾《工作室裡的藝術家》

Abstract

「成對繪畫」（pendant paintings）一詞代表了兩幅繪畫作品之間的聯繫，它們可以相似、相異，亦或以預言形式彼此對話。在十八世紀的法國，鑑賞家們經常委託畫家為他們製作「成對繪畫」，並以觀察兩幅作品之間的聯繫為樂。這種「比較」的觀看方式，要求觀者具有一定的鑑賞與審美標準，才能發現藏在其中的差異。贊助人Jean-Baptiste Lemoyne（1704-1778）曾委託畫家Jean-Baptiste Marie Pierre（1714-1789）繪製〈工作室裡的雕塑家〉（A Sculptor in His Studio），以和François Boucher（1703-1770）先前繪製的〈風景畫家〉（The Landscape Painter）進行對話。從主題與作品表現上可以發現，Lemoyne的委託並非單純鑑賞，而是使兩幅作品產生藝術上的對比（paragone）——自文藝復興起關於繪畫與雕塑的藝術形式之爭。本文探討Pierre創作之〈工作室裡的雕塑家〉如何與Boucher的〈風景畫家〉形成「成對繪畫」。以十八世紀歷史、審美和文化角度出發，本文檢視藝術家與其工作室之間的複雜關係，以及當代關於繪畫與雕塑的美學辯證。鑑於「成對繪畫」之類型相當廣泛，目前尚無詳盡的文獻能夠說明其形成的規則和方法；因此，本文將著重分析「創作中的藝術家」（Artist in Creation）類型之「成對繪畫」。透過分析Pierre、Boucher以及Jean-Baptiste Siméon Chardin（1699-1779）創作之「成對繪畫」案例分析，將有助於理解此類型「成對繪畫」之間的呼應與對比（paragone）。最終，通過對此類型「成對繪畫」之深入分析，本論文旨在建立一套系統化的閱讀方法，以更好地理解「成對繪畫」間創造之動態話語。

Pendant painting was a deliberate and often highly practiced way of commissioning and displaying art in eighteenth-century France. In asking Jean-Baptiste Marie Pierre (1714-1789) to paint a discrete picture representing a sculptor in his studio to form a pendant to a painting showing a painter realizing a landscape in his atelier designed by François Boucher (1703-1770), the enlightened patron Jean-Baptiste Lemoyne (1704-1778) challenged in an ongoing visual tradition the claims on the paragone—the rivalry between painting and sculpture. This thesis explores how Pierre's A Sculptor in His Studio was meant to form a paired painting to Boucher's Landscape Painter. Examining the relationship between the artist and his studio, the thesis explores how these two paintings articulate the relationship between artistic identities and shed light on the broader aesthetic debates of that time. Given the diverse subject matter and lack of comprehensive literature on the rules and methods for forming pendant paintings, this thesis narrows its focus to analyze a specific type of pendant painting: the artist at work. By closely examining Jean-Baptiste Siméon Chardin's (1699-1779) two sets of pendant practices, valuable insights can be gained into the strategies and intentions behind Boucher and Pierre's pendant paintings. Ultimately, this analysis contributes to a deeper understanding of the aesthetic debates that were taking place at the time between painting and sculpture. By unraveling the complexities and significance of these pendant artworks, this thesis seeks to shed light on the nuanced relationship between artists, their studios, and the dynamic dialogues they create through their pendant paintings.