Chardin

Pierre Rosenberg, the Chardin scholar and President-Director of the Musée du Louvre, had one overriding goal in mind when assembling the exhibition of which Chardin is the catalog: "to present the artist's finest paintings, the most perfect, the most harmonious, the paintings that leave nothing to be desired." The 99 paintings reproduced in this book are a testimony to the success of that endeavor. There are also six essays by Chardin experts and an extensively researched chronology.

Chardin's still lifes and genre scenes have been deeply appreciated for centuries for what Rosenberg calls "the grave, silent quality that encourages the onlooker to silent reverie." He is incapable of untruth: his subjects--jugs and bowls, glasses, cherries, housemaids, boys at play, dogs and cats--are painted without a touch of irony, embellishment, or drama.

It is painful to report that this volume is extremely disappointing visually, with plates that are either poorly reproduced or reproduced from poor transparencies and are slightly greenish or washed out. Except for details, which do show Chardin's close harmonies and painterly touch, the pictures look flat and dull. Art historians, of course, will see the paintings in the flesh and use this book as only an aide-memoire, but for ordinary, nonprofessional art lovers, the 20-year-old catalog of the great 1979 Chardin exhibition gives a far better sense of the quiet perfection of this subtle artist. Even a pocket book from Abrams' Discoveries series, Chardin: An Intimate Art, by Helene Prigent and Pierre Rosenberg, is far superior. Although its reproductions are minuscule by comparison, they are at least clear and clean, with colors that appear to be close to those of the original works. The little book may be only an hors d'oeuvre, but it has all the flavor that is missing in the full-course meal. --Peggy Moorman