拍品專文
In his earlier works, Boilly demonstrates a taste for moral, sentimental and amorous subjects. With the Revolution, this latter interest brought Boilly to the unwelcome attention of the Comité du salut public, which condemned him for painting subjects 'd'une obscénité révoltante pour les moeurs républicaines' (in particular for his Lovers and the escaped Birds, Musée du Louvre, Paris). To refute these accusations, Boilly painted the more patriotic Triumph of Marat in 1794 (Musée des Beaux-Arts, Lille), and Republican scruple no doubt explains why, in later life, he turned his attention to increasingly complex scenes taken from everyday life.
The present picture will be included in the forthcoming catalogue raisonné of the paintings of Boilly being prepared by Etienne Breton and Pascal Zuber.
The present picture will be included in the forthcoming catalogue raisonné of the paintings of Boilly being prepared by Etienne Breton and Pascal Zuber.