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Antoine Watteau

December 07, 2023

"Watteau" redirects here. For the fictional character, see Watto. For other uses, see Watteau (disambiguation).

Jean-Antoine Watteau (UK: /ˈwɒtoʊ/, US: /wɒˈtoʊ/,[2][3] French: [ʒɑ̃ ɑ̃twan vato]; baptised October 10, 1684 – died July 18, 1721)[4] was a French painter and draughtsman whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the less severe, more naturalistic, less formally classical, Rococo. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, suffused with a theatrical air. Some of his best known subjects were drawn from the world of Italian comedy and ballet.

Antoine Watteau
Rosalba Carriera, Portrait of Antoine Watteau, c. 1721, showing the artist in the last year of his life. Musei Civici [it], Treviso
Born
Jean-Antoine Watteau

baptised (1684-10-10)October 10, 1684
Valenciennes, France
DiedJuly 18, 1721(1721-07-18) (aged 36)
Nogent-sur-Marne,[1] France
NationalityFrench
Education
Known forPainting and drawing
Notable workEmbarkation for Cythera, 1717–1718
L'Enseigne de Gersaint, 1720–1721
MovementRococo
Patron(s)

Early life and training edit

Jean-Antoine Watteau[n. 1] was born in October 1684[n. 2] in Valenciennes,[1] once an important town in the County of Hainaut which became sequently part of the Burgundian and Habsburg Netherlands until its secession to France following the Franco-Dutch War. He was the second of four sons born to Jean-Philippe Watteau (1660–1720) and Michelle Lardenois (1653–1727),[n. 3] and was presumed to be of Walloon descent.[n. 4] The Watteaus were a quite well-to-do family, although Jean-Philippe, a roofer in second generation, was said to be given to brawling.[n. 5] Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin,[19] a local painter, and his first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes.[1] Watteau left for Paris in 1702.[20] After a period spent as a scene-painter, and in poor health, he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition;[n. 6] it was in that period that he developed his characteristic sketchlike technique.[21]

His drawings attracted the attention of the painter Claude Gillot, and by 1705 he was employed as an assistant to Gillot, whose work, influenced by those of Francesco Primaticcio and the school of Fontainebleau, represented a reaction against the turgid official art of Louis XIV's reign.[22][23][24] In Gillot's studio, Watteau became acquainted with the characters of the commedia dell'arte (which moved onto the théâtre de la foire following the Comédie-Italienne's departure in 1697), a favorite subject of Gillot's that would become one of Watteau's lifelong passions.[25][4]

After a quarrel with Gillot, Watteau moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, and from him Watteau acquired his knowledge of decorative art and ornamental design.[21] At the palace, Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his major influences, together with the Venetian masters that he would later study in the collection of his patron and friend, the banker Pierre Crozat.[4]

During this period Watteau painted The Departing Regiment, the first picture in his second and more personal manner, showing influence of Rubens, and the first of a long series of camp pictures. He showed the painting to Audran, who made light of it, and advised him not to waste his time and gifts on such subjects. Watteau determined to leave him, advancing as excuse his desire to return to Valenciennes. He found a purchaser, at the modest price of 60 livres, in a man called Sirois, the father-in-law of his later friend and patron Edme-François Gersaint, and was thus enabled to return to the home of his childhood. In Valenciennes he painted a number of the small camp-pieces, notably the Camp-Fire, which was again bought by Sirois, the price this time being raised to 200 livres.[21]

Later career edit

 
Pleasures of Love (1718–1719)
 
The Feast (or Festival) of Love (1718–1719)
 
The Embarkation for Cythera, 1717, Louvre. Many commentators note that it depicts a departure from the island of Cythera, the birthplace of Venus, thus symbolizing the brevity of love.

In 1709, Watteau tried to obtain a one-year stay in Rome by winning the Prix de Rome from the Academy, but managed only to get awarded with the second prize.[26] In 1712 he tried again and was persuaded by Charles de La Fosse that he had nothing to learn from going to Rome; thanks to Fosse he was accepted as an associate member of the Academy in 1712 and a full member in 1717.[21][27] He took those five years to deliver the required "reception piece", one of his masterpieces: the Pilgrimage to Cythera, also called the Embarkation for Cythera.[28]

Watteau then went to live with the collector Pierre Crozat, who eventually on his death in 1740 left around 400 paintings and 19,000 drawings by the masters. Thus Watteau was able to spend even more time becoming familiar with the works of Rubens and the Venetian masters.[29] He lacked aristocratic patrons; his buyers were bourgeois such as bankers and dealers. Among his most famous paintings, beside the two versions of the Pilgrimage to Cythera, one in the Louvre, the other in the Schloss Charlottenburg, Berlin, are Pierrot (long identified as "Gilles"), Fêtes venitiennes, Love in the Italian Theater, Love in the French Theater, "Voulez-vous triompher des belles?" and Mezzetin. The subject of his hallmark painting, Pierrot (Gilles), is an actor in a white satin costume who stands isolated from his four companions, staring ahead with an enigmatic expression on his face.[30]

Watteau's final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for a mundane urban set of encounters. Painted at Watteau's own insistence, "in eight days, working only in the mornings ... in order to warm up his fingers",[31] this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteau's theatre. It has been compared with Las Meninas as a meditation on art and illusion.[31] The scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama.[32]

Watteau alarmed his friends by a carelessness about his future and financial security, as if foreseeing he would not live for long. In fact he had been sickly and physically fragile since childhood. In 1720, he travelled to London, England, to consult Dr. Richard Mead, one of the most fashionable physicians of his time and an admirer of Watteau's work. However, London's damp and smoky air offset any benefits of Dr. Mead's wholesome food and medicines. Watteau returned to France, spending six months with Gersaint,[29] and then spent his last few months on the estate of his patron, Abbé Haranger, where he died in 1721, perhaps from tuberculous laryngitis, at the age of 36. The Abbé said Watteau was semi-conscious and mute during his final days, clutching a paint brush and painting imaginary paintings in the air.[33]

His nephew, Louis Joseph Watteau, son of Antoine's brother Noël Joseph Watteau (1689–1756), and grand nephew, François-Louis-Joseph Watteau, son of Louis, followed Antoine into painting.

 
Seated Woman (1716/1717), drawing by Watteau

Critical assessment and legacy edit

See also: List of paintings by Antoine Watteau

Little known during his lifetime beyond a small circle of his devotees, Watteau "was mentioned but seldom in contemporary art criticism and then usually reprovingly".[34] Sir Michael Levey once noted that Watteau "created, unwittingly, the concept of the individualistic artist loyal to himself, and himself alone".[35] If his immediate followers, Lancret and Pater, would depict the unabashed frillery of aristocratic romantic pursuits, Watteau in a few masterpieces anticipates an art about art, the world of art as seen through the eyes of an artist. In contrast to the Rococo whimsicality and licentiousness cultivated by Boucher and Fragonard in the later part of Louis XV's reign, Watteau's theatrical panache is usually tinged with a note of sympathy, wistfulness, and sadness at the transience of love and other earthly delights.[36] Famously, the Victorian essayist Walter Pater wrote of Watteau: "He was always a seeker after something in the world, that is there in no satisfying measure, or not at all."[37]: 414 

Watteau was a prolific draftsman. His drawings, typically executed in trois crayons technique, were collected and admired even by those, such as count de Caylus or Gersaint, who found fault with his paintings.[4] In 1726 and 1728, Jean de Jullienne published suites of etchings after Watteau's drawings, and in 1735 he published a series of engravings after his paintings, The Recueil Jullienne.[4] The quality of the reproductions, using a mixture of engraving and etching following the practice of the Rubens engravers, varied according to the skill of the people employed by Jullienne, but was often very high. Such a comprehensive record was hitherto unparalleled.[4] This helped disseminate his influence round Europe and into the decorative arts.

Watteau's influence on the arts (not only painting, but the decorative arts, costume, film, poetry, music) was more extensive than that of almost any other 18th-century artist. The Watteau dress, a long, sacklike dress with loose pleats hanging from the shoulder at the back, similar to those worn by many of the women in his paintings, is named after him. According to Konody's critical assessment in the Encyclopædia Britannica Eleventh Edition, in part, "in his treatment of the landscape background and of the atmospheric surroundings of the figures can be found the germs of Impressionism".[29] His influence on later generations of painters may have been less apparent in France than in England, where J. M. W. Turner was among his admirers.[38] A revived vogue for Watteau began in England during the British Regency, and was later encapsulated by the Goncourt brothers in France (Edmond de Goncourt having published a catalogue raisonné in 1875) and the World of Art union in Russia.

In 1984 Watteau societies were created in Paris, by Jean Ferré, and London, by Dr. Selby Whittingham. A major exhibition in Paris, Washington and Berlin commemorated the 1984 tercentenary of his birth. Since 2000 a Watteau centre has been established at Valenciennes by Professor Chris Rauseo. A catalogue raisonné of Watteau's drawings has been compiled by Pierre Rosenberg and Louis-Antoine Prat, replacing the one by Sir Karl Parker and Jacques Mathey;[39] similar projects on his paintings are undertaken by Alan Wintermute[40] and Martin Eidelberg,[41] respectively.[citation needed]

Gallery edit

Notes edit

  1. ^ The surname Watteau is presumed to originate from the word gâteau (transl. cake), possibly alluding to the trade carried on by the painter's distant ancestors;[5][6] according to Mollett 1883, p. 11, "In the old Walloon language the W is substituted for G, and the very name 'Wallon' is derived from 'Gallus.' 'Watteau' stands for 'Gateau,' as 'William' does for 'Guillaume,' &c." In French, the surname is usually pronounced with the voiced labiodental fricative [v],[7] though in Hainaut, the pronunciation with the voiced labio-velar approximant [w] is present.[8]
    Various spelling of the surname notably include Wateau, Watau, Vuateau, Vateau, and Vatteau.[9]
  2. ^ It is generally agreed that Watteau was the Jean-Antoine Watteau baptised on October 10, 1684, in Valenciennes at the Eglise de Saint-Jacques.[10] However, it has been suggested by Michel Vangheluwe in 1984 that the painter could be the Antoine Watteau born on May 6, 1676, eight years before the traditional date.[11][12]
  3. ^ Jean-Philippe Watteau and Michelle Lardenois, married on January 7, 1681, had four sons: Jean-François (b. 1682), Jean-Antoine, Antoine Roch (1687–1689), and Noël Joseph (1689–1758).[13]
  4. ^ Contemporary authors disputed if Watteau could be considered as a Frenchman, given his origin from a recently seized region. In The Temple of Taste, Voltaire described Watteau as a Flemish artist;[14] similarly, Frederick the Great labeled Watteau and Nicolas Lancret as "French painters of the school of Brabant" in a letter to his sister, the Margravine of Brandenburg-Bayreuth.[15][16] Nonetheless, later authors, such as Karl Woermann[17] and René Huyghe,[18] define Watteau as a Walloon.
  5. ^ At least one case of such behavior was documented; in 1690, Jean-Philippe Watteau was charged of having broken the leg to Abraham Lesne, burgher.[13]
  6. ^ For further discussion of Watteau's early years in Paris, see Glorieux, Guillaume (2002). "Les débuts de Watteau à Paris: le pont Notre-Dame en 1702". Gazette des Beaux-Arts. 139: 251–262. OCLC 887046528.

References edit

  1. ^ a b c Levey, Michael (1993). Painting and sculpture in France 1700-1789. New Haven: Yale University Press. p. 29. ISBN 0300064942.
  2. ^ Wells, John C. (2008). Longman Pronunciation Dictionary (3rd ed.). Longman. ISBN 978-1-4058-8118-0.
  3. ^ Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18th ed.). Cambridge University Press. ISBN 978-0-521-15255-6.
  4. ^ a b c d e f Wine, Humphrey; Scottez-De Wambrechies, Annie (1996). "Watteau". In Turner, Jane (ed.). The Dictionary of Art. Vol. 32. New York: Grove's Dictionaries. pp. 913–921. ISBN 1-884446-00-0 – via the Internet Archive. Also available via Oxford Art Online (subscription needed).
  5. ^ Camesasca 1971, p. 83.
  6. ^ Germain, Jean; Herbillon, Jules (2007). Dictionnaire des noms de famille en Wallonie et à Bruxelles (in French). Bruxelles: E. Racine. p. 1039. ISBN 978-2-87386-506-1. OCLC 159955388 – via Google Books.
  7. ^ Pierret, Jean-Marie (1994). Phonétique historique du français et notions de phonétique générale. Leuven: Peeters. p. 107. ISBN 9068316087. ISSN 0779-1658 – via Google Books.
  8. ^ Pohl, Jacques (1983). "Quelques caractéristiques de la phonologie du français parlé en Belgique". Langue française. 60 (6): 30–41. doi:10.3406/lfr.1983.5173.
  9. ^ Grasselli, Rosenberg & Parmantier 1984, pp. 15–28, "Chronology".
  10. ^ Grasselli, Rosenberg & Parmantier 1984, p. 16.
  11. ^ Vangheluwe, Michel (1987). "Watteau à Valenciennes". In Moureau, François; Grasselli, Margaret (eds.). Antoine Watteau, 1684-1721: le peintre, son temps et sa légende. Paris, Genève: Champion — Slatkin. pp. 7–9. ISBN 2852030381.
  12. ^ Michel 2008, p. 30.
  13. ^ a b Grasselli, Rosenberg & Parmantier 1984, p. 17.
  14. ^ Voltaire (1784). "Le Temple du Goût". Oeuvres completes de Voltaire (in French). Vol. 12. Paris: Impr. de la Société littéraire-typographique. pp. 171 n. 6. OCLC 83543415 – via the Internet Archive. Vateau eft un peintre flamand qui a travaillé à Paris, où il est mort il y a quelques années. Il a réussi dans les petites figures qu'il a dessinées & qu'il a très-bien grouppées; mais il n'a jamais rien fait de grand, il en était incapable.
  15. ^ Frederick II of Prussia (1856). "72. A La Margrave de Baireuth (Ruppin, 9 novembre 1739)". Oeuvres de Frédéric Le Grand (in French). Vol. 27. Berlin: R. Decker. p. 75 – via the Internet Archive. La plupart de mes tableaux sont de Watteau ou de Laucret, a tous deux peintres français de l'éeole de Brabant.
  16. ^ Grasselli, Rosenberg & Parmantier 1984, pp. 505, 548.
  17. ^ Woermann, Karl (1920). Die Kunst der mittleren Neuzeit von 1550 bis 1750 (Barock und Rokoko). Geschichte der Kunst aller Zeiten und Völker (in German). Vol. 5. Leipzig, Wien: Bibliographisches Institut. pp. 196. OCLC 1045561032 – via the Internet Archive. In Valenciennes geboren, das Flandern damals erft vor kerzem an Frankreich verloren hatte, war Watteau von Haus aus Wallone.
  18. ^ Huyghe, René (1962). "Watteau: Song of the Soul". Art and the Spirit of Man. Translated from the French by Norbert Guterman. New York: H. N. Abrams. p. 413. OCLC 1147729820 – via the Internet Archive. Watteau was a Frenchman, but a Frenchman of recent vintage, for it was only in 1678, six years before he was born, that Valenciennes became French under the Treaty of Nijmegen. He was thoroughly French, for the province of Hainaut had always been French-speaking and culturally oriented to France. Watteau was not a Fleming, as his contemporaries liked to call him; he was a Walloon.
  19. ^ For further reading on Jacques-Albert Gérin, see the following:
  20. ^ Grasselli, Rosenberg & Parmantier 1984, p. 19.
  21. ^ a b c d Konody 1911, p. 417.
  22. ^ Huyghe 1970, p. 13: "The standards Gillot used for his figures had nothing in common with those of the Royal French Academy. His were fine, slight, and mannered: much closer, in fact, to these of Francesco Primaticcio and the School of Fontainbleau."
  23. ^ Macchia, Giovanni (1986). "Watteau, (Jean-)Antoine". New Encyclopaedia Britannica. Vol. 12 (15th ed.). Chicago et al.: Encyclopaedia Britannica, Inc. pp. 529–530. ISBN 9780852294345 – via the Internet Archive. Also available via Britannica.com.
  24. ^ Roland Michel, Marianne (1996). "Gillot, Claude". In Turner, Jane (ed.). The Dictionary of Art. Vol. 12. New York: Grove's Dictionaries. pp. 637–638. ISBN 1-884446-00-0 – via the Internet Archive. Also available via Oxford Art Online.
  25. ^ Eidelberg, Martin (1987). "Watteau in the Atelier of Gillot". In Moureau, François; Grasselli, Margaret (eds.). Antoine Watteau, 1684-1721: le peintre, son temps et sa légende. Paris, Genève: Champion — Slatkin. pp. 45–57. ISBN 2852030381. OCLC 468860156.
  26. ^ Grasselli, Rosenberg & Parmantier 1984, p. 20.
  27. ^ Grasselli, Rosenberg & Parmantier 1984, p. 21.
  28. ^ Grasselli, Rosenberg & Parmantier 1984, p. 396.
  29. ^ a b c Konody 1911, p. 418.
  30. ^ Grasselli, Rosenberg & Parmantier 1984, pp. 429–434.
  31. ^ a b Baetjer, Katharine, ed. (2009). Watteau, Music, and Theater. Rosenberg, Pierre (an introduction by); Cowart, Georgia J. (an essay by). New York: The Metropolitan Museum of Art. p. 6. ISBN 978-1-58839-335-7..
  32. ^ Schwartz, Sanford (1990). Artists and Writers. New York: Yarrow Press. pp. 140–141. ISBN 1-878274-01-5.
  33. ^ Dormandy 2000, p. 11.
  34. ^ Hauser, Arnold (1958). Rococo, Classicism and Romanticism. Social History of Art. Vol. 3. New York: Vintage Books. p. 24–25. ISBN 9780203981245. OCLC 61403934 – via the Internet Archive.
  35. ^ Levey 1966.
  36. ^ Cunningham, Lawrence & Reich, John J. (2010). Culture and Values: A Survey of the Western Humanities. Boston, MA: Wadsworth Cengage Learning. p. 399. ISBN 9780495568773.
  37. ^ Pater, Walter (October 1885). "A Prince of Court Painters". Macmillan's Magazine. Vol. 52, no. 312. pp. 401–414 – via the Internet Archive.
  38. ^ Gowing, Lawrence, and Michel Laclotte. 1987. Paintings in the Louvre. New York: Stewart, Tabori & Chang. p. 506. ISBN 1556700075.
  39. ^ Roland Michel, Marianne (November 1998). "The Rosenberg-Prat Catalogue of Watteau's Drawings". The Burlington Magazine. 140 (1148): 749–754. JSTOR 888091.
  40. ^ Melikian, Souren (July 10, 2008). "A Watteau sets record at £12.36 million in an uneven Old Masters sale". The New York Times. Retrieved October 29, 2020. Alan Wintermute, a Christie's specialist based in New York who is currently writing the catalogue raisonné of Watteau's paintings, was able to retrace its history from the beginning down to the middle of the 19th century.
  41. ^ Osborne, Ruth (December 5, 2014). "A Weight of Evidence: An Interview with Dr. Martin Eidelberg on the Watteau Abecedario". ArtWatch International. Retrieved October 29, 2020.
  42. ^ "Pierrot Content". Museo Nacional Thyssen-Bornemisza. Retrieved July 21, 2020.
  43. ^ "Marriage Contract and Country Dance - The Collection - Museo Nacional del Prado". www.museodelprado.es. Retrieved July 21, 2020.
  44. ^ "La Boudeuse (The Capricious Girl)". Hermitagemuseum.org. Saint Petersburg: State Hermitage Museum. Retrieved September 27, 2017.

Bibliography edit

  • Camesasca, Ettore [in Portuguese] (1971) [first published in Italian in 1968]. The Complete Paintings of Watteau. Classics of the World's Great Art. Introduction by John Sunderland. New York: Harry N. Abrams. ISBN 0810955253. OCLC 143069 – via the Internet Archive.
  • Crow, Thomas E. (1985). Painters and Public Life in Eighteenth-Century Paris. New Haven; London: Yale University Press. ISBN 0-300-03764-3. OCLC 1200566051 – via the Internet Archive.
  • Dacier, Émile; Vuaflart, Albert; Herold, Jacques (1921–1929). Jean de Julienne et les graveurs de Watteau au XVIII-e siècle (in French). Paris: M. Rousseau. Volumes 1, 2, 3, and 4 available via the Heidelberg University Library repository
  • Dormandy, Thomas (2000). The White Death: the History of Tuberculosis. New York University Press.
  • Goncourt, Edmond et Jules de (1881). L'art du XVIIIme siècle [The Art of the Eighteenth Century] (in French). Vol. 1. Paris: G. Charpentier. OCLC 1048224230 – via the Internet Archive.
  • Grasselli, Margaret Morgan; Rosenberg, Pierre & Parmantier, Nicole, eds. (1984). Watteau, 1684-1721 (PDF) (exhibition catalogue). National Gallery of Art. ISBN 0-89468-074-9. OCLC 557740787 – via the National Gallery of Art archive.
  • Hind, Charles Lewis (1910). Watteau. London: T.C. & E.C. Jack – via the Internet Archive.
  • Huyghe, René (1970) [1950]. Watteau: The Artist and His Drawings. Translated by Barbara Bray. New York: Braziller. ISBN 9780269027093. OCLC 556662493 – via the Internet Archive.
  • Konody, Paul George (1911). "Watteau, Antoine" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. pp. 417–418.
  • Levey, Michael (1966). Rococo to Revolution: Major Trends in Eighteenth-Century Painting. London: Thames and Hudson. OCLC 1036855531 – via the Internet Archive.
  • Mauclair, Camille (1906). Antoine Watteau (1684-1721). Duckworth & Co – via the Internet Archive.
  • Michel, Christian (2008). Le "célèbre Watteau" (in French). Genève: Droz. ISBN 978-2-600-01176-1. OCLC 1158803919.
  • Mollett, John William (1883). Watteau. Illustrated Biographies of the Great Artists. London: S. Low, Marston, Searle & Rivington. OCLC 557720162 – via the Internet Archive.
  • Perl, Jed (2009). Antoine's Alphabet: Watteau and His World. New York: Vintage Books. ISBN 978-0-307-38594-9.
  • Phillips, Claude (1895). Antoine Watteau. Seeley and co. Limited. OCLC 729123867 – via the Internet Archive.
  • Plax, Julie Anne (2000). Watteau and the Cultural Politics of Eighteenth-Century France. Cambridge etc.: Cambridge University Press. ISBN 0-521-64268-X. OCLC 803847893.
  • Plomp, Michiel; Sonnabend, Martin (2016). Watteau: Der Zeichner (exhibition catalogue) (in German). München: Hirmer. ISBN 978-3-941399-66-2.
  • Posner, Donald (1984). Antoine Watteau. London: Weidenfeld & Nicolson. ISBN 0-8014-1571-3. OCLC 10736607 – via the Internet Archive.
  • Roland Michel, Marianne (1984). Watteau: an Artist of the Eighteenth Century. London: Trefoil. ISBN 0-86294-049-4. OCLC 1302554747 – via the Internet Archive.
  • Roseberg, Pierre, ed. (1984). Vies anciennes de Watteau. Paris: Hermann. ISBN 2-7056-5985-4.
  • Rosenberg, Pierre & Prat, Louis-Antoine (1996). Antoine Watteau: catalogue raisonné des dessins (in French). Paris: Gallimard-Electa. ISBN 2-07-015043-7. OCLC 463981169.
  • Rosenberg, Pierre; Prat, Louis-Antoine & Eidelberg, Martin (2011). Watteau: The Drawings (exhibition catalogue). London: Royal Academy of Arts. ISBN 9781905711703. OCLC 740683643.
  • Schneider, Pierre (1967). The World of Watteau. New York: Time-Life Books. OCLC 680174683 – via the Internet Archive.
  • Sheriff, Mary D., ed. (2006). Antoine Watteau: Perspectives on the Artist and the Culture of His Time. Newark: University of Delaware. ISBN 978-0-87413-934-1. OCLC 185456942.
  • Staley, Edgcumbe (1902). Watteau and His School. London: George Bell and Sons – via the Internet Archive.
  • Stein, Perrin (October 2003). "Antoine Watteau (1684–1721)" (essay). Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art. Retrieved September 18, 2020.
  • Vidal, Mary (1992). Watteau's Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France. New Haven, London: Yale University Press. ISBN 0-300-05480-7. OCLC 260176725.
  • Walsh, Linda (1999). "Subjects, Society, Style: Changing Evaluations of Watteau and His Art". In Barker, Emma; Webb, Nick; Woods, Kim (eds.). The Changing Status of the Artist. Art and Its Histories. Vol. 2. New Haven, London: Yale University Press. pp. 220–248. ISBN 0-300-07740-8. OCLC 1148191287 – via the Internet Archive.
  • The Watteau Society Bulletin, London.
  • Martin Eidelberg, watteauandhiscircle.org

External links edit

  Media related to Antoine Watteau at Wikimedia Commons

December 07, 2023
antoine, watteau, watteau, redirects, here, fictional, character, watto, other, uses, watteau, disambiguation, jean, french, ʒɑ, twan, vato, baptised, october, 1684, died, july, 1721, french, painter, draughtsman, whose, brief, career, spurred, revival, intere. Watteau redirects here For the fictional character see Watto For other uses see Watteau disambiguation Jean Antoine Watteau UK ˈ w ɒ t oʊ US w ɒ ˈ t oʊ 2 3 French ʒɑ ɑ twan vato baptised October 10 1684 died July 18 1721 4 was a French painter and draughtsman whose brief career spurred the revival of interest in colour and movement as seen in the tradition of Correggio and Rubens He revitalized the waning Baroque style shifting it to the less severe more naturalistic less formally classical Rococo Watteau is credited with inventing the genre of fetes galantes scenes of bucolic and idyllic charm suffused with a theatrical air Some of his best known subjects were drawn from the world of Italian comedy and ballet Antoine WatteauRosalba Carriera Portrait of Antoine Watteau c 1721 showing the artist in the last year of his life Musei Civici it TrevisoBornJean Antoine Watteaubaptised 1684 10 10 October 10 1684Valenciennes FranceDiedJuly 18 1721 1721 07 18 aged 36 Nogent sur Marne 1 FranceNationalityFrenchEducationClaude GillotClaude Audran IIIKnown forPainting and drawingNotable workEmbarkation for Cythera 1717 1718 L Enseigne de Gersaint 1720 1721MovementRococoPatron s Jean de JulliennePierre CrozatEdme Francois Gersaint Contents 1 Early life and training 2 Later career 3 Critical assessment and legacy 4 Gallery 5 Notes 6 References 7 Bibliography 8 External linksEarly life and training editJean Antoine Watteau n 1 was born in October 1684 n 2 in Valenciennes 1 once an important town in the County of Hainaut which became sequently part of the Burgundian and Habsburg Netherlands until its secession to France following the Franco Dutch War He was the second of four sons born to Jean Philippe Watteau 1660 1720 and Michelle Lardenois 1653 1727 n 3 and was presumed to be of Walloon descent n 4 The Watteaus were a quite well to do family although Jean Philippe a roofer in second generation was said to be given to brawling n 5 Showing an early interest in painting Jean Antoine may have been apprenticed to Jacques Albert Gerin 19 a local painter and his first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes 1 Watteau left for Paris in 1702 20 After a period spent as a scene painter and in poor health he found employment in a workshop at Pont Notre Dame making copies of popular genre paintings in the Flemish and Dutch tradition n 6 it was in that period that he developed his characteristic sketchlike technique 21 His drawings attracted the attention of the painter Claude Gillot and by 1705 he was employed as an assistant to Gillot whose work influenced by those of Francesco Primaticcio and the school of Fontainebleau represented a reaction against the turgid official art of Louis XIV s reign 22 23 24 In Gillot s studio Watteau became acquainted with the characters of the commedia dell arte which moved onto the theatre de la foire following the Comedie Italienne s departure in 1697 a favorite subject of Gillot s that would become one of Watteau s lifelong passions 25 4 After a quarrel with Gillot Watteau moved to the workshop of Claude Audran III an interior decorator under whose influence he began to make drawings admired for their consummate elegance Audran was the curator of the Palais du Luxembourg and from him Watteau acquired his knowledge of decorative art and ornamental design 21 At the palace Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici The Flemish painter would become one of his major influences together with the Venetian masters that he would later study in the collection of his patron and friend the banker Pierre Crozat 4 During this period Watteau painted The Departing Regiment the first picture in his second and more personal manner showing influence of Rubens and the first of a long series of camp pictures He showed the painting to Audran who made light of it and advised him not to waste his time and gifts on such subjects Watteau determined to leave him advancing as excuse his desire to return to Valenciennes He found a purchaser at the modest price of 60 livres in a man called Sirois the father in law of his later friend and patron Edme Francois Gersaint and was thus enabled to return to the home of his childhood In Valenciennes he painted a number of the small camp pieces notably the Camp Fire which was again bought by Sirois the price this time being raised to 200 livres 21 Later career edit nbsp Pleasures of Love 1718 1719 nbsp The Feast or Festival of Love 1718 1719 nbsp The Embarkation for Cythera 1717 Louvre Many commentators note that it depicts a departure from the island of Cythera the birthplace of Venus thus symbolizing the brevity of love In 1709 Watteau tried to obtain a one year stay in Rome by winning the Prix de Rome from the Academy but managed only to get awarded with the second prize 26 In 1712 he tried again and was persuaded by Charles de La Fosse that he had nothing to learn from going to Rome thanks to Fosse he was accepted as an associate member of the Academy in 1712 and a full member in 1717 21 27 He took those five years to deliver the required reception piece one of his masterpieces the Pilgrimage to Cythera also called the Embarkation for Cythera 28 Watteau then went to live with the collector Pierre Crozat who eventually on his death in 1740 left around 400 paintings and 19 000 drawings by the masters Thus Watteau was able to spend even more time becoming familiar with the works of Rubens and the Venetian masters 29 He lacked aristocratic patrons his buyers were bourgeois such as bankers and dealers Among his most famous paintings beside the two versions of the Pilgrimage to Cythera one in the Louvre the other in the Schloss Charlottenburg Berlin are Pierrot long identified as Gilles Fetes venitiennes Love in the Italian Theater Love in the French Theater Voulez vous triompher des belles and Mezzetin The subject of his hallmark painting Pierrot Gilles is an actor in a white satin costume who stands isolated from his four companions staring ahead with an enigmatic expression on his face 30 Watteau s final masterpiece the Shop sign of Gersaint exits the pastoral forest locale for a mundane urban set of encounters Painted at Watteau s own insistence in eight days working only in the mornings in order to warm up his fingers 31 this sign for the shop in Paris of the paintings dealer Edme Francois Gersaint is effectively the final curtain of Watteau s theatre It has been compared with Las Meninas as a meditation on art and illusion 31 The scene is an art gallery where the facade has magically vanished and the gallery and street in the canvas are fused into one contiguous drama 32 Watteau alarmed his friends by a carelessness about his future and financial security as if foreseeing he would not live for long In fact he had been sickly and physically fragile since childhood In 1720 he travelled to London England to consult Dr Richard Mead one of the most fashionable physicians of his time and an admirer of Watteau s work However London s damp and smoky air offset any benefits of Dr Mead s wholesome food and medicines Watteau returned to France spending six months with Gersaint 29 and then spent his last few months on the estate of his patron Abbe Haranger where he died in 1721 perhaps from tuberculous laryngitis at the age of 36 The Abbe said Watteau was semi conscious and mute during his final days clutching a paint brush and painting imaginary paintings in the air 33 His nephew Louis Joseph Watteau son of Antoine s brother Noel Joseph Watteau 1689 1756 and grand nephew Francois Louis Joseph Watteau son of Louis followed Antoine into painting nbsp Seated Woman 1716 1717 drawing by WatteauCritical assessment and legacy editSee also List of paintings by Antoine Watteau Little known during his lifetime beyond a small circle of his devotees Watteau was mentioned but seldom in contemporary art criticism and then usually reprovingly 34 Sir Michael Levey once noted that Watteau created unwittingly the concept of the individualistic artist loyal to himself and himself alone 35 If his immediate followers Lancret and Pater would depict the unabashed frillery of aristocratic romantic pursuits Watteau in a few masterpieces anticipates an art about art the world of art as seen through the eyes of an artist In contrast to the Rococo whimsicality and licentiousness cultivated by Boucher and Fragonard in the later part of Louis XV s reign Watteau s theatrical panache is usually tinged with a note of sympathy wistfulness and sadness at the transience of love and other earthly delights 36 Famously the Victorian essayist Walter Pater wrote of Watteau He was always a seeker after something in the world that is there in no satisfying measure or not at all 37 414 Watteau was a prolific draftsman His drawings typically executed in trois crayons technique were collected and admired even by those such as count de Caylus or Gersaint who found fault with his paintings 4 In 1726 and 1728 Jean de Jullienne published suites of etchings after Watteau s drawings and in 1735 he published a series of engravings after his paintings The Recueil Jullienne 4 The quality of the reproductions using a mixture of engraving and etching following the practice of the Rubens engravers varied according to the skill of the people employed by Jullienne but was often very high Such a comprehensive record was hitherto unparalleled 4 This helped disseminate his influence round Europe and into the decorative arts Watteau s influence on the arts not only painting but the decorative arts costume film poetry music was more extensive than that of almost any other 18th century artist The Watteau dress a long sacklike dress with loose pleats hanging from the shoulder at the back similar to those worn by many of the women in his paintings is named after him According to Konody s critical assessment in the Encyclopaedia Britannica Eleventh Edition in part in his treatment of the landscape background and of the atmospheric surroundings of the figures can be found the germs of Impressionism 29 His influence on later generations of painters may have been less apparent in France than in England where J M W Turner was among his admirers 38 A revived vogue for Watteau began in England during the British Regency and was later encapsulated by the Goncourt brothers in France Edmond de Goncourt having published a catalogue raisonne in 1875 and the World of Art union in Russia In 1984 Watteau societies were created in Paris by Jean Ferre and London by Dr Selby Whittingham A major exhibition in Paris Washington and Berlin commemorated the 1984 tercentenary of his birth Since 2000 a Watteau centre has been established at Valenciennes by Professor Chris Rauseo A catalogue raisonne of Watteau s drawings has been compiled by Pierre Rosenberg and Louis Antoine Prat replacing the one by Sir Karl Parker and Jacques Mathey 39 similar projects on his paintings are undertaken by Alan Wintermute 40 and Martin Eidelberg 41 respectively citation needed Gallery edit nbsp Pierrot Content c 1711 1712 Thyssen Bornemisza Museum Madrid 42 nbsp Marriage Contract and Country Dancing c 1711 Prado Museum Madrid 43 nbsp La Perspective View through the Trees in the Park of Pierre Crozat c 1715 Museum of Fine Arts Boston nbsp Savoyard with a Marmot c 1716 Hermitage Museum St Petersburg nbsp Mezzetino c 1717 1720 Metropolitan Museum of Art New York nbsp Pierrot c 1718 1719 Louvre Paris nbsp Quellnymphe c 1718 private collection nbsp The Love Song c 1717 National Gallery London nbsp The Robber of the Sparrow s Nest c 1712 National Galleries of Scotland Edinburgh nbsp The Dance c 1716 1718 Gemaldegalerie Berlin nbsp Actors of the Comedie Francaise between 1711 1718 Hermitage Museum Saint Petersburg nbsp Fetes Venitiennes c 1718 1719 National Galleries of Scotland Edinburgh nbsp The Love Lesson c 1716 1717 Nationalmuseum Stockholm nbsp Les Plaisirs du Bal c 1717 Dulwich Picture Gallery London nbsp La Surprise c 1718 Getty Center Los Angeles nbsp La Boudeuse c 1715 1718 Hermitage Museum Saint Petersburg 44 nbsp Pilgrimage to Cythera c 1718 1719 Charlottenburg Palace Berlin nbsp The Italian Comedians c 1719 1721 National Gallery of Art Washington D C nbsp L Enseigne de Gersaint c 1720 1721 Charlottenburg Palace Berlin nbsp Ceres Summer c 1717 1718 National Gallery of Art Washington D C Notes edit The surname Watteau is presumed to originate from the word gateau transl cake possibly alluding to the trade carried on by the painter s distant ancestors 5 6 according to Mollett 1883 p 11 In the old Walloon language the W is substituted for G and the very name Wallon is derived from Gallus Watteau stands for Gateau as William does for Guillaume amp c In French the surname is usually pronounced with the voiced labiodental fricative v 7 though in Hainaut the pronunciation with the voiced labio velar approximant w is present 8 Various spelling of the surname notably include Wateau Watau Vuateau Vateau and Vatteau 9 It is generally agreed that Watteau was the Jean Antoine Watteau baptised on October 10 1684 in Valenciennes at the Eglise de Saint Jacques 10 However it has been suggested by Michel Vangheluwe in 1984 that the painter could be the Antoine Watteau born on May 6 1676 eight years before the traditional date 11 12 Jean Philippe Watteau and Michelle Lardenois married on January 7 1681 had four sons Jean Francois b 1682 Jean Antoine Antoine Roch 1687 1689 and Noel Joseph 1689 1758 13 Contemporary authors disputed if Watteau could be considered as a Frenchman given his origin from a recently seized region In The Temple of Taste Voltaire described Watteau as a Flemish artist 14 similarly Frederick the Great labeled Watteau and Nicolas Lancret as French painters of the school of Brabant in a letter to his sister the Margravine of Brandenburg Bayreuth 15 16 Nonetheless later authors such as Karl Woermann 17 and Rene Huyghe 18 define Watteau as a Walloon At least one case of such behavior was documented in 1690 Jean Philippe Watteau was charged of having broken the leg to Abraham Lesne burgher 13 For further discussion of Watteau s early years in Paris see Glorieux Guillaume 2002 Les debuts de Watteau a Paris le pont Notre Dame en 1702 Gazette des Beaux Arts 139 251 262 OCLC 887046528 References edit a b c Levey Michael 1993 Painting and sculpture in France 1700 1789 New Haven Yale University Press p 29 ISBN 0300064942 Wells John C 2008 Longman Pronunciation Dictionary 3rd ed Longman ISBN 978 1 4058 8118 0 Jones Daniel 2011 Roach Peter Setter Jane Esling John eds Cambridge English Pronouncing Dictionary 18th ed Cambridge University Press ISBN 978 0 521 15255 6 a b c d e f Wine Humphrey Scottez De Wambrechies Annie 1996 Watteau In Turner Jane ed The Dictionary of Art Vol 32 New York Grove s Dictionaries pp 913 921 ISBN 1 884446 00 0 via the Internet Archive Also available via Oxford Art Online subscription needed Camesasca 1971 p 83 Germain Jean Herbillon Jules 2007 Dictionnaire des noms de famille en Wallonie et a Bruxelles in French Bruxelles E Racine p 1039 ISBN 978 2 87386 506 1 OCLC 159955388 via Google Books Pierret Jean Marie 1994 Phonetique historique du francais et notions de phonetique generale Leuven Peeters p 107 ISBN 9068316087 ISSN 0779 1658 via Google Books Pohl Jacques 1983 Quelques caracteristiques de la phonologie du francais parle en Belgique Langue francaise 60 6 30 41 doi 10 3406 lfr 1983 5173 Grasselli Rosenberg amp Parmantier 1984 pp 15 28 Chronology Grasselli Rosenberg amp Parmantier 1984 p 16 Vangheluwe Michel 1987 Watteau a Valenciennes In Moureau Francois Grasselli Margaret eds Antoine Watteau 1684 1721 le peintre son temps et sa legende Paris Geneve Champion Slatkin pp 7 9 ISBN 2852030381 Michel 2008 p 30 a b Grasselli Rosenberg amp Parmantier 1984 p 17 Voltaire 1784 Le Temple du Gout Oeuvres completes de Voltaire in French Vol 12 Paris Impr de la Societe litteraire typographique pp 171 n 6 OCLC 83543415 via the Internet Archive Vateau eft un peintre flamand qui a travaille a Paris ou il est mort il y a quelques annees Il a reussi dans les petites figures qu il a dessinees amp qu il a tres bien grouppees mais il n a jamais rien fait de grand il en etait incapable Frederick II of Prussia 1856 72 A La Margrave de Baireuth Ruppin 9 novembre 1739 Oeuvres de Frederic Le Grand in French Vol 27 Berlin R Decker p 75 via the Internet Archive La plupart de mes tableaux sont de Watteau ou de Laucret a tous deux peintres francais de l eeole de Brabant Grasselli Rosenberg amp Parmantier 1984 pp 505 548 Woermann Karl 1920 Die Kunst der mittleren Neuzeit von 1550 bis 1750 Barock und Rokoko Geschichte der Kunst aller Zeiten und Volker in German Vol 5 Leipzig Wien Bibliographisches Institut pp 196 OCLC 1045561032 via the Internet Archive In Valenciennes geboren das Flandern damals erft vor kerzem an Frankreich verloren hatte war Watteau von Haus aus Wallone Huyghe Rene 1962 Watteau Song of the Soul Art and the Spirit of Man Translated from the French by Norbert Guterman New York H N Abrams p 413 OCLC 1147729820 via the Internet Archive Watteau was a Frenchman but a Frenchman of recent vintage for it was only in 1678 six years before he was born that Valenciennes became French under the Treaty of Nijmegen He was thoroughly French for the province of Hainaut had always been French speaking and culturally oriented to France Watteau was not a Fleming as his contemporaries liked to call him he was a Walloon For further reading on Jacques Albert Gerin see the following Thieme Ulrich ed 1920 Gerin Jacques Albert Allgemeines Lexikon der bildenden Kunstler in German Vol 13 Leipzig E A Seemann p 439 OCLC 1039498097 via the Internet Archive Zimmermann Michael F 1989 Gerin Jacques Albert In Roman d Amat Jean Charles Prevost Michel amp Tribout de Morembert Henri eds Dictionnaire de biographie francaise Vol 15 Paris Letouzey et Ane col 1295 Benezit Emmanuel 2006 first published in French in 1911 1923 Benezit Dictionary of Artists Vol 6 Paris Grund pp 67 ISBN 2 7000 3076 1 via the Internet Archive Poinsignon Jean Claude 2006 Gerin Jacques Albert In Kasten Eberhard et al eds Allgemeines Kunstlerlexikon in German Vol 52 Munchen Leipzig Saur pp 141 142 ISBN 3 598 22792 2 Grasselli Rosenberg amp Parmantier 1984 p 19 a b c d Konody 1911 p 417 Huyghe 1970 p 13 The standards Gillot used for his figures had nothing in common with those of the Royal French Academy His were fine slight and mannered much closer in fact to these of Francesco Primaticcio and the School of Fontainbleau Macchia Giovanni 1986 Watteau Jean Antoine New Encyclopaedia Britannica Vol 12 15th ed Chicago et al Encyclopaedia Britannica Inc pp 529 530 ISBN 9780852294345 via the Internet Archive Also available via Britannica com Roland Michel Marianne 1996 Gillot Claude In Turner Jane ed The Dictionary of Art Vol 12 New York Grove s Dictionaries pp 637 638 ISBN 1 884446 00 0 via the Internet Archive Also available via Oxford Art Online Eidelberg Martin 1987 Watteau in the Atelier of Gillot In Moureau Francois Grasselli Margaret eds Antoine Watteau 1684 1721 le peintre son temps et sa legende Paris Geneve Champion Slatkin pp 45 57 ISBN 2852030381 OCLC 468860156 Grasselli Rosenberg amp Parmantier 1984 p 20 Grasselli Rosenberg amp Parmantier 1984 p 21 Grasselli Rosenberg amp Parmantier 1984 p 396 a b c Konody 1911 p 418 Grasselli Rosenberg amp Parmantier 1984 pp 429 434 a b Baetjer Katharine ed 2009 Watteau Music and Theater Rosenberg Pierre an introduction by Cowart Georgia J an essay by New York The Metropolitan Museum of Art p 6 ISBN 978 1 58839 335 7 Schwartz Sanford 1990 Artists and Writers New York Yarrow Press pp 140 141 ISBN 1 878274 01 5 Dormandy 2000 p 11 Hauser Arnold 1958 Rococo Classicism and Romanticism Social History of Art Vol 3 New York Vintage Books p 24 25 ISBN 9780203981245 OCLC 61403934 via the Internet Archive Levey 1966 Cunningham Lawrence amp Reich John J 2010 Culture and Values A Survey of the Western Humanities Boston MA Wadsworth Cengage Learning p 399 ISBN 9780495568773 Pater Walter October 1885 A Prince of Court Painters Macmillan s Magazine Vol 52 no 312 pp 401 414 via the Internet Archive Gowing Lawrence and Michel Laclotte 1987 Paintings in the Louvre New York Stewart Tabori amp Chang p 506 ISBN 1556700075 Roland Michel Marianne November 1998 The Rosenberg Prat Catalogue of Watteau s Drawings The Burlington Magazine 140 1148 749 754 JSTOR 888091 Melikian Souren July 10 2008 A Watteau sets record at 12 36 million in an uneven Old Masters sale The New York Times Retrieved October 29 2020 Alan Wintermute a Christie s specialist based in New York who is currently writing the catalogue raisonne of Watteau s paintings was able to retrace its history from the beginning down to the middle of the 19th century Osborne Ruth December 5 2014 A Weight of Evidence An Interview with Dr Martin Eidelberg on the Watteau Abecedario ArtWatch International Retrieved October 29 2020 Pierrot Content Museo Nacional Thyssen Bornemisza Retrieved July 21 2020 Marriage Contract and Country Dance The Collection Museo Nacional del Prado www museodelprado es Retrieved July 21 2020 La Boudeuse The Capricious Girl Hermitagemuseum org Saint Petersburg State Hermitage Museum Retrieved September 27 2017 Bibliography editCamesasca Ettore in Portuguese 1971 first published in Italian in 1968 The Complete Paintings of Watteau Classics of the World s Great Art Introduction by John Sunderland New York Harry N Abrams ISBN 0810955253 OCLC 143069 via the Internet Archive Crow Thomas E 1985 Painters and Public Life in Eighteenth Century Paris New Haven London Yale University Press ISBN 0 300 03764 3 OCLC 1200566051 via the Internet Archive Dacier Emile Vuaflart Albert Herold Jacques 1921 1929 Jean de Julienne et les graveurs de Watteau au XVIII e siecle in French Paris M Rousseau Volumes 1 2 3 and 4 available via the Heidelberg University Library repository Dormandy Thomas 2000 The White Death the History of Tuberculosis New York University Press Goncourt Edmond et Jules de 1881 L art du XVIIIme siecle The Art of the Eighteenth Century in French Vol 1 Paris G Charpentier OCLC 1048224230 via the Internet Archive Grasselli Margaret Morgan Rosenberg Pierre amp Parmantier Nicole eds 1984 Watteau 1684 1721 PDF exhibition catalogue National Gallery of Art ISBN 0 89468 074 9 OCLC 557740787 via the National Gallery of Art archive Hind Charles Lewis 1910 Watteau London T C amp E C Jack via the Internet Archive Huyghe Rene 1970 1950 Watteau The Artist and His Drawings Translated by Barbara Bray New York Braziller ISBN 9780269027093 OCLC 556662493 via the Internet Archive Konody Paul George 1911 Watteau Antoine In Chisholm Hugh ed Encyclopaedia Britannica Vol 28 11th ed Cambridge University Press pp 417 418 Levey Michael 1966 Rococo to Revolution Major Trends in Eighteenth Century Painting London Thames and Hudson OCLC 1036855531 via the Internet Archive Mauclair Camille 1906 Antoine Watteau 1684 1721 Duckworth amp Co via the Internet Archive Michel Christian 2008 Le celebre Watteau in French Geneve Droz ISBN 978 2 600 01176 1 OCLC 1158803919 Mollett John William 1883 Watteau Illustrated Biographies of the Great Artists London S Low Marston Searle amp Rivington OCLC 557720162 via the Internet Archive Perl Jed 2009 Antoine s Alphabet Watteau and His World New York Vintage Books ISBN 978 0 307 38594 9 Phillips Claude 1895 Antoine Watteau Seeley and co Limited OCLC 729123867 via the Internet Archive Plax Julie Anne 2000 Watteau and the Cultural Politics of Eighteenth Century France Cambridge etc Cambridge University Press ISBN 0 521 64268 X OCLC 803847893 Plomp Michiel Sonnabend Martin 2016 Watteau Der Zeichner exhibition catalogue in German Munchen Hirmer ISBN 978 3 941399 66 2 Posner Donald 1984 Antoine Watteau London Weidenfeld amp Nicolson ISBN 0 8014 1571 3 OCLC 10736607 via the Internet Archive Roland Michel Marianne 1984 Watteau an Artist of the Eighteenth Century London Trefoil ISBN 0 86294 049 4 OCLC 1302554747 via the Internet Archive Roseberg Pierre ed 1984 Vies anciennes de Watteau Paris Hermann ISBN 2 7056 5985 4 Rosenberg Pierre amp Prat Louis Antoine 1996 Antoine Watteau catalogue raisonne des dessins in French Paris Gallimard Electa ISBN 2 07 015043 7 OCLC 463981169 Rosenberg Pierre Prat Louis Antoine amp Eidelberg Martin 2011 Watteau The Drawings exhibition catalogue London Royal Academy of Arts ISBN 9781905711703 OCLC 740683643 Schneider Pierre 1967 The World of Watteau New York Time Life Books OCLC 680174683 via the Internet Archive Sheriff Mary D ed 2006 Antoine Watteau Perspectives on the Artist and the Culture of His Time Newark University of Delaware ISBN 978 0 87413 934 1 OCLC 185456942 Staley Edgcumbe 1902 Watteau and His School London George Bell and Sons via the Internet Archive Stein Perrin October 2003 Antoine Watteau 1684 1721 essay Heilbrunn Timeline of Art History New York Metropolitan Museum of Art Retrieved September 18 2020 Vidal Mary 1992 Watteau s Painted Conversations Art Literature and Talk in Seventeenth and Eighteenth Century France New Haven London Yale University Press ISBN 0 300 05480 7 OCLC 260176725 Walsh Linda 1999 Subjects Society Style Changing Evaluations of Watteau and His Art In Barker Emma Webb Nick Woods Kim eds The Changing Status of the Artist Art and Its Histories Vol 2 New Haven London Yale University Press pp 220 248 ISBN 0 300 07740 8 OCLC 1148191287 via the Internet Archive The Watteau Society Bulletin London Martin Eidelberg watteauandhiscircle orgExternal links edit nbsp Media related to Antoine Watteau at Wikimedia Commons 40 artworks by or after Antoine Watteau at the Art UK site Alphabetical list of accepted paintings and copies at A Watteau Abecedario The Rococo and Watteau www Jean Antoine Watteau org 89 works by Antoine Watteau Watteau paintings at the Web Gallery of Art Bell Julian February 12 2009 The Pleasure of Watteau The New York Review of Books Retrieved May 3 2020 Works by Watteau in the collection of the Cooper Hewitt National Design Museum The Watteau Abecedario http watteau abecedario org default htm Retrieved from https en wikipedia org w index php title Antoine Watteau amp oldid 1183946421, wikipedia, wiki, book, books, library,

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