Reexamines the assumption that Boilly was an impoverished artist, as well as the critical view of late 18th and early 19th c. French genre painting as an accurate record of social reality; finds that Boilly's life and his financial dealings made him a member of the middle class, and that his late genre painting, Les Déménagements (Chicago, Art Institute), which depicts poor people moving house, reflects contemporary middle-class attitudes toward the poor rather than direct association with them on the part of the artist.
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