How to draw capsicum step by step II How to draw vegetables II By Art JanaG

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The 18th century to a large extent continued to refine 17th-century formulae, and levels of production decreased. In the Rococo style floral decoration became far more common on porcelain, wallpaper, fabrics and carved wood furnishings, so that buyers preferred their paintings to have figures for a contrast. One change was a new enthusiasm among French painters, who now form a large proportion of the most notable artists, while the English remained content to import. Jean-Baptiste Chardin painted small and simple assemblies of food and objects in a most subtle style that both built on the Dutch Golden Age masters, and was to be very influential on 19th-century compositions. Dead game subjects continued to be popular, especially for hunting lodges; most specialists also painted live animal subjects. Jean-Baptiste Oudry combined superb renderings of the textures of fur and feather with simple backgrounds, often the plain white of a lime-washed larder wall, that showed them off to advantage.

By the 18th century, in many cases, the religious and allegorical connotations of still-life paintings were dropped and kitchen table paintings evolved into calculated depictions of varied colour and form, displaying everyday foods. The French aristocracy employed artists to execute paintings of bounteous and extravagant still-life subjects that graced their dining table, also without the moralistic vanitas message of their Dutch predecessors. The Rococo love of artifice led to a rise in appreciation in France for trompe-l'œil (French: "trick the eye") painting. Jean-Baptiste Chardin's still-life paintings employ a variety of techniques from Dutch-style realism to softer harmonies.
The bulk of Anne Vallayer-Coster's work was devoted to the language of still life as it had been developed in the course of the seventeenth and eighteenth centuries.[53] During these centuries, the genre of still life was placed lowest on the hierarchical ladder. Vallayer-Coster had a way about her paintings that resulted in their attractiveness. It was the "bold, decorative lines of her compositions, the richness of her colours and simulated textures, and the feats of illusionism she achieved in depicting wide variety of objects, both natural and artificial"[53] which drew in the attention of the Royal Académie and the numerous collectors who purchased her paintings. This interaction between art and nature was quite common in Dutch, Flemish and French still lifes.[53] Her work reveals the clear influence of Jean-Baptiste-Siméon Chardin, as well as 17th-century Dutch masters, whose work has been far more highly valued, but what made Vallayer-Coster's style stand out against the other still-life painters was her unique way of coalescing representational illusionism with decorative compositional structures.

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