The Swiss artist is the author of the painting chocolate girl. The secret of the famous "Chocolate Girl" Lyotard: the story of Cinderella or the predatory hunter for the princely title

Since childhood, I remember the thrill that this picture evokes .. A glass of water can be looked at endlessly.
My dream is to collect a collection of books "IZHZL" (from life wonderful people). This is so, a lyrical digression on a near-cultural theme

But infa from the site http://www.nearyou.ru/100kartin/100karrt_36.html
Swiss artist J.-E. Lyotard was called "the painter of kings and beautiful women". Everything in his life consisted of happy accidents and circumstances that talented painter, also gifted with a practical mind, skillfully used it.

At one time, the family of J.-E. Lyotard was forced to emigrate from France to Geneva. Future artist at one time he studied in Paris with the engraver and miniaturist Massé. Then in the life of J.-E. Lyotard began years of wandering, during which he visited many cities and countries. He traveled as a companion of noble persons, as many artists of the 18th century often had to do.

Travels were given by J.-E. Lyotard diversified material for observation and accustomed him to the almost documentary accuracy of sketches. For portraits J.-E. Lyotard is characterized by exceptional accuracy in the reproduction of the model, and it is precisely with this that the artist acquired European fame and acquired high patrons. He was warmly welcomed by the Austrian Empress Maria Theresa in Vienna, by the Pope in Rome, and by Turkish Sultan in Constantinople. Everyone liked the portraits of J.-E. Lyotard's likeness of faces, completeness in the depiction of materials of clothing and jewelry, and the colorfulness of his canvases.

The portrait of the beautiful Anna Baltauf, known worldwide as La belle chocoladiere and copied and engraved countless times (located in the Dresden Gallery), was painted in Vienna.
Most likely, Anna was a servant at the court of the Austrian Empress Maria Theresa, where the painter noticed the girl. Anna, the daughter of an impoverished knight, served as a maid at court.
They say that it was there that the young prince Dietrichstein noticed her beauty.
He fell in love and - to the horror of the aristocracy - married her.
As a wedding present, Prince Dietrichtein commissioned Jean Etienne Lyotard, who was working at the Viennese court at the time, to have a portrait of his bride in the very clothes in which he first saw her.
They say that on the wedding day, the bride invited the chocolatiers she knew and, being happy with her elevation, gave them her hand with the words: "Here! Now I have become a princess, and you can kiss my hand."
This painting is also notable for the fact that it was the first to depict the first porcelain in Europe - Meissen

Now this painting is in the Dresden picture gallery, but originally it was bought by the Venetian Count Algarotti, a connoisseur and lover of painting. In one of his letters, he reported: "I bought the famous Lyotard pastel. It is executed in imperceptible detradations of light and with excellent relief. The transmitted nature is not changed at all; being a European work, pastel is executed in the spirit of the Chinese ... sworn enemies of the shadow. Well, then As far as the completion of the work is concerned, it can be said in one word: this is Holbein pastels, which depicts in profile a young German girl-maid carrying a tray with a glass of water and a cup of chocolate.

Indeed, the picture shows only one female figure.
But she is depicted in such a way that she bewitches most of the viewers who visit the famous gallery in Dresden. J.-E. Lyotard managed to give the picture the character of a genre scene. Before "Shokoladnitsa" - free space, so the impression is that the model does not seem to pose for the artist, but passes in front of the viewer in small steps, carefully and carefully carrying the tray.

The Shokoladnitsa's eyes are modestly lowered, but the consciousness of her attractiveness illuminates her entire tender and sweet face. Her posture, the position of her head and arms - everything is full of the most natural grace. Her little foot in a gray high-heeled shoe peeks out modestly from under her skirt.

The colors of the "Shokoladnitsa" clothes were selected by J.-E. Lyotard in soft harmony: a silvery-gray skirt, a golden bodice, a shining white apron, a transparent white kerchief and a fresh silk cap - pink and delicate, like a rose petal ... The artist, with his inherent precision, does not deviate a dash from the most detailed reproduction of the form body of "Chocolate Girl" and her clothes. So, for example, the dense silk of her dress is really puffing up; the folds of the apron, which had just been taken out of the linen drawer, had not yet straightened; a glass of water reflects a window, and a line is reflected in it top edge a small tray.

The painting "Chocolate Girl" is notable for its completeness in every detail, to which J.-E. Lyotard. Art critic M. Alpatov believes that "due to all these features," Chocolate Girl "can be attributed to the miracles of optical illusion in art, like those bunches of grapes in the picture of the famous ancient Greek artist who tried to peck sparrows." After the conventionality and mannerism of some masters of the 18th century, the almost photographic accuracy of the painting by J.-E. Lyotard gave the impression of a revelation.

The artist worked exclusively in the pastel technique, which was very common in the 18th century, and was fluent in it. But J.-E. Lyotard was not only virtuoso master of this technique, but also its convinced theorist. He believed that it was pastel that most naturally conveys color and the subtlest transitions of light and shade within the limits of light colorful tones. The very task of showing a figure in a white apron against a white wall is a difficult pictorial task, but J.-E. Lyotard's combination of a gray-gray and white apron with pale-gray shadows and a steel shade of water is a real poetry of colors. In addition, using thin transparent shadows in "Shokoladnitsa", he achieved perfect drawing accuracy, as well as maximum convexity and volume definition.

based on the materials of Wikipedia and the story of N.A. Ionina, publishing house "Veche", 2002

Stories about masterpieces

Anyone who has ever been to the Dresden Art Gallery will definitely remember two paintings: “ Sistine Madonna»Raphael and small pastels. Why did we suddenly remember the picture when talking about chocolate? Because the picture is called "Chocolate Girl" and it has its own legends and history.

Before us appears a young charming girl in a white apron and cap, as they were worn in the 18th century, with a tray in his hands. On a tray, a glass of water and a cup of steaming chocolate, this is how they drank a popular drink in Europe at that time. Hard chocolate was not even known then.

The artist has worked out all the details so carefully that the portrait looks like a living photograph. A slight blush on the girl's cheeks, a languid look. A window is reflected in a transparent glass of water. In an elegant white mug, you can recognize the newly invented Meissen porcelain. The color scheme is very simple, restrained, but warm and delicate.

From whom Lyotard wrote "Chocolate Girl" is not known exactly. But in each of the versions of the painting there is a love story for a woman and for chocolate.

The legend of the beautiful Shokoladnitsa

According to one of the versions, the Austrian prince Dietrichstein went to a coffee shop to taste chocolate, for which the whole of Europe was crazy. His waitress turned out to be the daughter of an impoverished nobleman, Anna Baltauf. Dietrichstein was captivated by both the taste of the drink and the beauty of the girl.

Of course, the noble family did not share the heir's hobbies. But this beautiful love story had a happy ending, and Anna and the prince got married. And her portrait in the form in which her future husband saw her for the first time became a gift to his wife for the wedding.

A touching love story at first sight between a chocolate Cinderella and a rich heir could not leave anyone indifferent.

And when the president of the American Chocolate Company, Henry L. Pearce, saw the painting in 1862, he immediately bought the rights to use the image.

The beautiful Shokoladnitsa became the symbol of the Baker's Chocolate trademark. Perhaps this was the first acquisition of image rights in the history of business for such a purpose.

From 1765 the painting was kept in the Dresden Gallery, but disappeared during the Second World War. And it was found by Soviet troops in the Kenigstein fortress.

Now the original painting is in Germany, in the Dresden Gallery, and its copy is in the Baker Chocolate Company Museum in Dorchester, Massachusetts.

Video "Chocolate Girl, Jean Etienne Lyotard - Review of the Picture"

Other interesting materials.

Swiss artist J.-E. Lyotard was called "the painter of kings and beautiful women". Everything in his life consisted of happy accidents and circumstances, which a talented artist, gifted, moreover, with a practical mind, skillfully used.

At one time, the family of J.-E. Lyotard was forced to emigrate from France to Geneva. The future artist studied at one time in Paris with the engraver and miniaturist Massé. Then in the life of J.-E. Lyotard began years of wandering, during which he visited many cities and countries. He traveled as a companion of noble persons, as many artists of the 18th century often had to do.

Travels were given by J.-E. Lyotard diversified material for observation and accustomed him to the almost documentary accuracy of sketches. For portraits J.-E. Lyotard is characterized by exceptional accuracy in the reproduction of the model, and it is precisely with this that the artist acquired European fame and acquired high patrons. He received a warm welcome from the Austrian Empress Maria Theresa in Vienna, from the Pope in Rome, and from the Turkish Sultan in Constantinople. Everyone liked the portraits of J.-E. Lyotard's likeness of faces, completeness in the depiction of materials of clothing and jewelry, and the colorfulness of his canvases.

The portrait of the beautiful Anna Baltauf, known worldwide as La belle chocoladiere and copied and engraved countless times (located in the Dresden Gallery), was painted in Vienna.
Most likely, Anna was a servant at the court of the Austrian Empress Maria Theresa, where the painter noticed the girl. Anna, the daughter of an impoverished knight, served as a maid at court.
They say that it was there that the young prince Dietrichstein noticed her beauty.
He fell in love and - to the horror of the aristocracy - married her.
As a wedding present, Prince Dietrichtein commissioned Jean Etienne Lyotard, who worked at the Viennese court at the time, to have a portrait of his bride in the very clothes in which he first saw her.
They say that on the wedding day, the bride invited the chocolatiers she knew and, being happy with her elevation, gave them her hand with the words: "Here! Now I have become a princess, and you can kiss my hand."
This painting is also notable for the fact that it was the first to depict the first porcelain in Europe - Meissen

Now this painting is in the Dresden Art Gallery, but it was originally bought by the Venetian Count Algarotti, a connoisseur and lover of painting. In one of his letters, he reported: "I bought the famous Lyotard pastel. It is executed in imperceptible detradations of light and with excellent relief. The transmitted nature is not changed at all; being a European work, pastel is executed in the spirit of the Chinese ... sworn enemies of the shadow. Well, then As far as the completion of the work is concerned, it can be said in one word: this is Holbein pastels, which depicts in profile a young German lady-maid carrying a tray with a glass of water and a cup of chocolate.

Indeed, there is only one female figure in the painting.
But she is depicted in such a way that she bewitches most of the viewers who visit the famous gallery in Dresden. J.-E. Lyotard managed to give the picture the character of a genre scene. There is free space in front of the "Shokoladnitsa", so the impression is that the model does not seem to pose for the artist, but passes in front of the viewer with small steps, carefully and carefully carrying a tray.

but the consciousness of her attractiveness illuminates her whole tender and sweet face. Her posture, the position of her head and arms - everything is full of the most natural grace. Her little foot in a gray high-heeled shoe peeks out modestly from under her skirt.

The colors of the "Shokoladnitsa" clothes were selected by J.-E. Lyotard in soft harmony: a silvery-gray skirt, a golden bodice, a shining white apron, a transparent white kerchief and a fresh silk cap - pink and delicate, like a rose petal ... The artist, with his inherent precision, does not deviate a dash from the most detailed reproduction of the form body of "Chocolate Girl" and her clothes. So, for example, the dense silk of her dress is really puffing up; the folds of the apron, which had just been taken out of the linen drawer, had not yet straightened; a glass of water reflects the window and reflects the line at the top of the small tray.

The painting "Chocolate Girl" is notable for its completeness in every detail, to which J.-E. Lyotard. Art critic M. Alpatov believes that "due to all these features," Chocolate Girl "can be attributed to the miracles of optical illusion in art, like those bunches of grapes in the picture of the famous ancient Greek artist who tried to peck sparrows." After the conventionality and mannerism of some masters of the 18th century, the almost photographic accuracy of the painting by J.-E. Lyotard gave the impression of a revelation.

The artist worked exclusively in the pastel technique, which was very common in the 18th century, and was fluent in it. But J.-E. Lyotard was not only a virtuoso master of this technique, but also its convinced theorist. He believed that it was pastel that most naturally conveys color and the subtlest transitions of light and shade within the limits of light colorful tones. The very task of showing a figure in a white apron against a white wall is a difficult pictorial task, but J.-E. Lyotard's combination of a gray-gray and white apron with pale-gray shadows and a steel shade of water is a real poetry of colors. In addition, using thin transparent shadows in "Shokoladnitsa", he achieved perfect drawing accuracy, as well as maximum convexity and volume definition.

La belle chocolatière, it. Das Schokoladenmädchen) - the most famous picture Swiss artist XVIII century by J.E. Lyotard, depicting a maid carrying hot chocolate on a tray. Made using pastel technique on parchment.

History

The legend about the creation of this painting is as follows: in 1745, an Austrian aristocrat, Prince Dietrichstein, went to a Viennese coffee house to try a new chocolate drink, which was so much talked about at that time. His waitress was Anna Baltauf, daughter of an impoverished nobleman, Melchior Baltauf. The prince was captivated by her charm, and, despite the objections of his family, took the girl as his wife. "Shokoladnitsa" became a wedding present for the new princess, ordered by the newlyweds from the fashionable Swiss artist Lyotard. The portrait painter portrayed the bride dressed as an 18th century waitress, immortalizing love at first sight. (It is this version - real story Cinderella - popularized in Baker booklets).

According to another version, the future princess's name was Charlotte Baltauf, her father was a Viennese banker and the painting was painted in his house - this is what the inscription on a copy of the painting kept in London at the Orleans House Gallery says. There is also an option according to which it was not a commissioned portrait, but a painting painted according to on their own the artist, struck by the beauty of the girl, from the maid of the Empress Maria Theresa, called Balduf and who later became the wife of Joseph Wenzel von Lichtenstein. In any case, the identity of the model has not been precisely established.

From a letter

“I bought a pastel of the famous Lyotard.
It is performed in imperceptible gradations
light and with excellent relief.
The transmitted nature is not at all
changed; being a European job,
pastel is made in the spirit of the Chinese ...
sworn enemies of the shadow. As for
completeness of work, then we can say
in one word: these are Holbein pastels.
It depicts a young woman in profile
german maid who
carries a tray with a glass of water and
a cup of chocolate ".

After leaving Vienna, Lyotard arrived in Venice, where he sold this pastel to Count Francesco Algarotti, who was involved in filling the collection of August III, King of Poland, and Frederick II of Prussia.

In popular culture

The portrait was exhibited in the Dresden Gallery, where it was seen by Henry L. Pearce, president of an American chocolate trading firm, and in 1862 the American company Baker's Chocolate acquired the rights to use the painting, making it the oldest trademark in the United States and one of the oldest in the world. Often there is a variant of its use in the form of a black and white silhouette. Another copy of the painting is at the Baker House Museum in Dorchester, Massachusetts.

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An excerpt characterizing the Chocolate Girl (picture)

It looked, I must say, very unpleasant ... I had skates with short boots (it was still impossible to get high ones at that time) and I saw that my whole leg at the ankle was cut almost to the bone ... Others too saw, and then the panic began. The faint-hearted girls almost fainted, because, to be honest, they looked creepy. To my surprise, I was not frightened and did not cry, although in the first seconds the state was almost shock. Holding the incision with my hands as hard as I could, I tried to concentrate and think about something pleasant, which turned out to be very difficult because of the cutting pain in my leg. Blood seeped through the fingers and fell in large drops on the ice, gradually collecting on it into a small puddle ...
Naturally, this could not in any way calm down the already rather nervous guys. Someone ran to call an ambulance, and someone awkwardly tried to somehow help me, only complicating an already unpleasant situation for me. Then I tried to concentrate again and thought that the blood should stop. And she began to wait patiently. To everyone's surprise, literally in a minute nothing was leaking through my fingers! I asked our boys to help me up. Fortunately, there was my neighbor, Romas, who usually never contradicted me in anything. I asked him to help me up. He said that if I get up, the blood will surely "flow like a river" again. I took my hands away from the cut ... and what our surprise was when we saw that the blood no longer flows at all! It looked very unusual - the wound was large and open, but almost completely dry.
When I finally arrived Ambulance, the doctor who examined me could not understand in any way what had happened and why, with such a deep wound, my blood does not flow. But he also did not know that not only did I not bleed, but I also did not feel any pain at all! I saw the wound with my own eyes and, according to all the laws of nature, I should have felt wild pain ... which, oddly enough, was not there at all in this case. They took me to the hospital and prepared to sew me up.
When I said that I did not want anesthesia, the doctor looked at me as if I was quietly mad and prepared to give an anesthetic injection. Then I told him that I would shout ... This time he looked at me very carefully and, nodding his head, began to sew. It was very strange to watch how my flesh is pierced with a long needle, and I, in the place of something very painful and unpleasant, feel only a slight "mosquito" bite. The doctor watched me all the time and asked several times if everything was all right with me. I answered yes. Then he asked if this always happens to me? I said no, just now.
I do not know whether he was a very "advanced" doctor for that time, or whether I managed to convince him in some way, but, one way or another, he believed me and did not ask any more questions. About an hour later, I was already at home and happily devoured warm grandmother's pies in the kitchen, not gorging in any way and sincerely surprised at such a wild feeling of hunger, as if I had not eaten for several days. Now, naturally, I already understand that it was simply too much loss of energy after my "self-treatment", which urgently needed to be restored, but then, of course, I still could not know this.
The second case of the same strange self-pain relief occurred during an operation that our family doctor, Dana, persuaded us to go for. As far as I could remember myself, my mother and I very often suffered from angina. This happened not only from a cold in winter, but also in summer, when it was very dry and warm outside. As soon as we got a little overheated, our sore throat was here, and here it forced us to lie around in bed for a week or two, which my mother and I equally disliked. And so, after consulting, we finally decided to heed the voice of "professional medicine" and remove what so often prevented us from living normally (although, as it turned out later, there was no need to remove this, and this, again, was another mistake of our "all-knowing »Doctors).
The operation was scheduled for one of weekdays, when my mother, like everyone else, naturally worked. We agreed with her that first, in the morning, I would go to the operation, and after work she would do it. But my mother promised that she would definitely try to come at least half an hour before the doctor starts gutting me. Oddly enough, I did not feel fear, but there was some aching sensation of uncertainty. This was the first operation in my life and I had no idea how it would happen.
From the very morning, like a lion cub in a cage, I walked back and forth along the corridor, waiting for all this to finally begin. Then, as now, I didn’t like waiting for anything or anyone the most. And I have always preferred the most unpleasant reality to any "fluffy" uncertainty. When I knew what was happening and how, I was ready to fight it or, if it was necessary, to decide something. In my opinion, there were no unsolvable situations - there were only indecisive or indifferent people. Therefore, even then, in the hospital, I really wanted to get rid of the "nuisance" hanging over my head as soon as possible and to know that it was already behind ...
I never liked hospitals. The sight of so many people in the same room, suffering people inspired me with real horror. I wanted, but could not help them in any way, and at the same time I felt their pain just as strongly (apparently completely "turned on"), as if it were mine. I tried to somehow protect myself from this, but it poured in a real avalanche, leaving not the slightest opportunity to escape from all this pain. I wanted to close my eyes, withdraw into myself and run, without turning around from all this, as far and as quickly as possible ...

Jean-Etienne Lyotard and his "Lovely Chocolate Girl"
To the 270th anniversary of the creation famous painting

"Shokoladnitsa" can be attributed to the miracles of deception
vision in art, like bunches of grapes in a painting
ancient artist which the birds tried to peck "
M. Alpatov. Academician of art history

Who does not remember one of the pearls of the Dresden gallery, the elegant painting "Chocolate Girl", which depicts a young Viennese beauty, gracefully carrying on a tray a fragile porcelain cup with a newfangled chocolate drink and a glass of clean clear water? Painted almost three centuries ago on parchment using the pastel technique, the picture amazes with its pictorial skill and poetic freshness.
The author of "Chocolate Girl" (other names - "Beautiful Chocolate Girl", German "Das Schokoladenm; dchen", French "La Belle Chocolati; re") is the Swiss artist Jean-Etienne Lyotard (1702 - 1789). He was considered one of the most mysterious craftsmen of his time. Many legends have survived about his travels and adventures.
Lyotard was born in Geneva to a Protestant French jeweler who had to emigrate to the Alpine republic. He showed a penchant for drawing as a child. He loved to paint portraits of friends, scenes from Roman history, was fond of miniatures and enamel painting. Having started studying in Gardel's workshop, in a few months he surpasses his teacher. Lyotard masterly copies the canvases of the old masters.
In 1725, the artist went to Paris for three years to perfect his technique. A few years later, he finds himself in Rome, where he creates many pastel portraits, including Pope Clement XII and a number of cardinals, this was the beginning of his fame in Europe.

I must say that Jean-Etienne had two main hobbies: painting and a craving for wanderings, and much in the artist's life consisted of happy accidents and circumstances associated with travel. Once, thanks to his acquaintance with a noble Englishman, Lyotard made a trip to the East (Messina, Syracuse, Malta, Smyrna, the islands of Delos and Paros), which ended in Constantinople. The artist stayed here for 5 years. He embodied his impressions in magnificent drawings, in which skill and freedom of technique (fancy patterns, lines, refined tones of a silver pencil and red-red sanguine) were combined with documentary accurate reproduction of the appearance of the characters, their costumes, the texture of fabrics and even the cut of clothing. People organically fit into the lush decoration of the premises with an abundance of carpets, draperies, tables, vases, pillows. True, his oriental beauties sometimes resembled exquisite Parisians.
Returning to Europe, Lyotard continued to wear a long beard, robe and turban, for which he received the nickname "artist-Turk". He constantly moved from one country to another, communicated with interesting people, painted their portraits, leaving the descendants reliable “... appearance people who have long disappeared from the face of the earth ”. The synthesis of the decorativeness of French Rococo and the clarity of Dutch realism of the 17th century in the artist's work brought Lyotard great success.

In 1745, fate brought Jean-Etienne Lyotard to Vienna, where in 1740 the 23-year-old Maria Theresa took the imperial throne. eldest daughter Emperor Charles VI. The Empress provided famous artist warm welcome and instructed Prince Dietrichstein, a man close to the court, to take care of the guest.
Soon, Lyotard created his Galatea here - "The Beautiful Chocolate Maker" (82.5; 52.5 cm). The unpretentiousness of the composition, the light atmosphere and the almost photographic accuracy of the pastel, after the conventionality and mannerism characteristic of the masters of the 18th century, made an impression of revelation on contemporaries. Pastel was perceived by them as a masterpiece on a par with the works of Chardin and Vermeer, with their characters, deep in their daily activities. The Venetian Count Algarotti, a connoisseur and lover of painting, in one of his letters wrote about the "Chocolate Girl": "As for the completeness of the work, we can say in one word: this is Holbein pastels."
Lyotard's masterpiece is dedicated great amount articles and studies giving a detailed description of it. Here is a small selection of them: “... Nothing special happens in this simple genre scene, but it captivates with the poetry of the perception of life, great pictorial skill. ... Everything here caresses the eye - a pretty girl with an open, clear face and an easy gait, calm, harmonious combinations light colors- white, pink, golden brown, gray. ... The girl is depicted against an almost neutral background formed by a light wall and floor.
The artist places her to the left of the center of the picture, as if giving the heroine the opportunity to move forward. The direction of her movement is emphasized with a gesture outstretched arms carrying an elegant lacquer tray by the lines of the floor. ... Looking at this picture, you admire how masterfully and accurately the subtlety of a porcelain cup is conveyed (pastel for the first time in European art depicts the recently invented Meissen porcelain), a glass with transparent water reflects the window, and refracts the line of the upper edge of the tray.
The texture of velvet, silk, lace is remarkably conveyed. Some fabrics fall in heavy elastic folds, others, light and mobile, shimmer in different shades colors, softly enveloping the figure. ... The colors of the “Shokoladnitsa” clothes were selected by J.-E. Lyotard in soft harmony: a silvery-gray skirt, a golden bodice, a shining white apron, a transparent white kerchief and a fresh silk pink cap. "

There is no reliable information about who the artist portrayed in the image of the "Beautiful Chocolate Girl". In the most romantic and most beautiful version the legend about the creation of "Shokoladnitsa" sounds like this. On a chilly winter day in 1745, Prince Dietrichstein dropped into a small Viennese coffee house to taste a hot chocolate drink, which was much talked about at the time. A pleasant drink was also considered a medicinal one, and it was served with a glass of water. The aristocrat was served by a young waitress, Anna Baldauf, the daughter of an impoverished nobleman. The prince was so fascinated by the girl's grace and beauty that he immediately fell in love with her. To get to know Anna better, he now visited the coffee shop almost daily. Despite the strong resistance of the court nobility, in the same year, Anna became Dietrichstein's wife and an Austrian princess. As a wedding gift, the newlyweds ordered the artist Lyotard a painting "The Beautiful Chocolate Girl". The master created a masterpiece in which he portrayed Anna in the costume of a chocolate waitress, singing love at first sight.

The circle of Lyotard's life was closed on June 12, 1789, when the "artist of kings and beautiful women" dies after returning to his homeland in Geneva. He created many wonderful works, especially pastels, but in the memory of descendants he remained famous precisely as the author of "Shokoladnitsa".
Since 1855 "Shokoladnets" has been in the collection of the famous Dresden gallery.

During World War II, the painting, along with other masterpieces, was transported by the Nazis to the Königstein castle above the Elbe in Saxon Switzerland, near Dresden. Here, in a deep, mined casemate in flat pine boxes, treasures from Dresden were discovered by Soviet troops. It's a miracle they weren't blown up during the retreat. German troops, survived and did not have time to die from cold and dampness.
In 1955, Lyotard's pastels were shown at a farewell exhibition in Moscow, among other German art trophies, before returning to Dresden Gallery... The paintings were exhibited from May 2 to August 20, 1955. People came from afar, sometimes queuing up for days to see legendary treasures, among which the modest "Chocolate Girl" by Jean-Etienne Lyotard was not lost.