![]() ![]() Jean baptiste de langy series#Oudry himself provided cartoons for several series of wall hangings, among them The New Hunts, Country Pleasures, The Comedies of Molière, and The Fables of La Fontaine. In a stroke of genius he hired François Boucher (1703-1770) as principal designer at Beauvais. During his tenure he completely overhauled the administration of the manufactory, imposing strict technical standards on the weavers, whom he compelled to adhere more strictly to the painted cartoons. That year another of his patrons, the finance minister Louis Fagon (1680-1744), obtained for him the position of painter to the Beauvais tapestry works, whose director he became in 1734. Oudry's favor at court was such that in March 1726 he exhibited the contents of his studio in the Grands Appartements at Versailles. Switching registers, he painted commedia dell'arte subjects, arabesque decorations in the manner of Jean Antoine Watteau (1684-1721), and views of model farms that hark back to the bucolic landscapes of Peter Paul Rubens (1577-1640). For the Château de Compiègne, the artist executed a series of overdoor "portraits" of royal hunting dogs (an example is Misse and Luttine, NGA 1994.53.1). He depicts himself in the lower right corner of this composition, the first of his celebrations of the chasse à courre, the king's favorite physical activity. In 1728 the royal arts administration commissioned him to paint a huge canvas representing Louis XV Hunting Deer in the Forest of Saint-Germain (originally hung in the main pavilion at Marly and today in the Musée des Augustins, Toulouse), which he completed in 1730. The greatest boost to Oudry's official career was provided by his patron, Henri Camille, the chevalier de Beringhen (NGA 1994.14.1), who introduced the painter to the young Louis XV, and he was soon made painter in ordinary of the royal hunts and granted a studio and lodgings for himself and his family in the Tuileries palace. As the Académie royale held no exhibitions between 17, for a time Oudry showed his works at the only public venue available to him, the Exposition de la jeunesse, which was held on the Place Dauphine on the feast of Corpus Christi. These masterpieces were followed by several large hunt pictures, the most notable of which are the Wolf Hunt (Ansbach, Ansbach Residenz) and the Stag Hunt (Stockholm, Royal Palace). He proved his mettle in such sumptuous performances as the decorative series of the Four Elements (Stockholm, Nationalmuseum) of 1719-1721 and the pendants Dead Wolf and Dead Roe (London, Wallace Collection) of 1721. 1625-1691), and he soon became a congenial rival to the older Alexandre François Desportes (1661-1743), who specialized in the same genres. From the start of his career, he was attracted to the painting of flora and fauna in the manner of the Dutch animalier painters Frans Snyders (1579-1657), Jan Fyt (1611-1661), Jan Baptist Weenix (1621-1660/1661), Melchior d'Hondecoeter (1636-1695), and Abraham Hondius (c. ![]() In 1719 Oudry was elected to membership in the Académie royale. In 1710, Oudry married Marie Marguerite Froissé, by whom he would have many children, including a son, Jacques Charles (1722/1723-1778), who also became a painter. Other religious paintings followed, as well as a long series of portraits, many of which were recorded in the drawings of his early two-volume Livre de raison (Département des Arts Graphiques, Musée du Louvre). In 1708, after completing as his reception piece a now-lost religious composition depicting Saint Jerome, Oudry was inducted into the Académie de Saint-Luc. With Largillierre he refined his sense of color and his remarkable skills as a painter of still life and portraiture, both subject types in which his master had deservedly achieved enormous fame. ![]() In 1707, Oudry began a five-year apprenticeship with Rigaud's main competitor, Nicolas de Largillierre (1656-1746), under whose direction he copied works of the Flemish and Dutch schools of the seventeenth century. In 1704 he received some training from Michel Serre (1658-1733), a cousin of the portraitist Hyacinthe Rigaud (1659-1743). Jacques Oudry taught his son the technical aspects of his art, and the youth attended drawing courses at the Académie de Saint-Luc and the Académie royale. In 1706 his father was made director of the Académie de Saint-Luc, the old painters' guild that was the only serious competition to the more prestigious and influential Académie royale de peinture et de sculpture. 1661-1720), and his wife, née Nicole Papillon. Born in Paris on March 17, 1686, Jean-Baptiste Oudry was the son of a minor painter and art dealer, Jacques Oudry (c. ![]()
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