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Portfolio Jean Antoine Watteau. The complete works. (254: Chalk, Charcoal, Drawing, Engraving, Frescoes, Graphite, Oil, Oil On Canvas, Oil On Panel, Tempera)

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  • Jean Antoine Watteau - Gilles
  • Jean Antoine Watteau - Pilgrimage to Cythera
  • Jean Antoine Watteau - Three studies of a boy
  • Jean Antoine Watteau - Embarkation for Cythera
  • Jean Antoine Watteau - Gathering by the Fountain of Neptune
  • Jean Antoine Watteau - The Monkey Sculptor
  • Jean Antoine Watteau - The Italian Theater
  • Jean Antoine Watteau - The French Theater
  • Jean Antoine Watteau - Harlequin, Emperor on the Moon
  • Jean Antoine Watteau - Diana Bathing
  • Jean Antoine Watteau - Sketch with Two Figures
  • Jean Antoine Watteau - The Toilette
  • Jean Antoine Watteau - Gilles and his Family
  • Jean Antoine Watteau - The Italian Serenade
  • Jean Antoine Watteau - Merry Company in the Open Air
  • Jean Antoine Watteau - The Music Lesson
  • Jean Antoine Watteau - La Danse Champêtre
  • Jean Antoine Watteau - Pierrot Content
  • Jean Antoine Watteau - Mezzetin
  • Jean Antoine Watteau - The Embarkation for Cythera
  • Jean Antoine Watteau - Harlequin and Columbine
  • Jean Antoine Watteau - A Halt During the Chase
  • Jean Antoine Watteau - Mezzetin
  • Jean Antoine Watteau - Kneeling Male Nude
  • Jean Antoine Watteau - The Toilette
  • Jean Antoine Watteau - Geraints shopsign - - (detail)
  • Jean Antoine Watteau - The Italian Comedy
  • Jean Antoine Watteau - French Players
 
All 254 Artworks from Jean Antoine Watteau





 Jean-Antoine Watteau
Jean-Antoine Watteau had a very brief but very successful career as an artist. Watteau was born at the end of the 17th century to a time when the art of the Baroque was beginning to wane. But the talented Watteau brought new life to painting through his interest in movement and color in works of great earlier artists such as Rubens and Correggio. It was only a premature death when Watteau was only 36 years old which brought this artists great career to an early end.
[Page - Jean Antoine Watteau - 4Ko]

Jean-Antoine Watteau (French pronunciation: ​[ʒan‿ɑ̃twan wato]; October 10, 1684 – July 18, 1721) was a French painter whose brief career spurred the revival of interest in colour and movement (in the tradition of Correggio and Rubens). He revitalized the waning Baroque style, and indeed moved 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 an air of theatricality. Some of his best known subjects were drawn from the world of Italian comedy and ballet.

Watteau was born in the town of Valenciennes, which had recently passed from the Spanish Netherlands to France. His father was a master tiler. Showing an early interest in painting, he was apprenticed to Jacques-Albert Gérin, a local painter. Having little to learn from Gérin, Watteau left for Paris in about 1702. There he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition; it was in that period that he developed his characteristic sketchlike technique.

In 1703 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIV's reign. In Gillot's studio Watteau became acquainted with the characters of the commedia dell'arte (its actors had been expelled from France several years before), a favorite subject of Gillot's that would become one of Watteau's lifelong passions. Afterward he 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, where 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 he would later study in the collection of his patron and friend, the banker Pierre Crozat.

In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required "reception piece", but it was one of his masterpieces: the Pilgrimage to Cythera, also called the Embarkation for Cythera.

Interestingly, while Watteau's paintings seem to epitomize the aristocratic elegance of the Régence (though he actually lived most of his short life under the oppressive climate of Louis XIV's later reign), he never had aristocratic patrons. His buyers were bourgeois such as bankers and dealers.

Although his mature paintings seem to be so many depictions of frivolous fêtes galantes, they in fact display a sober melancholy, a sense of the ultimate futility of life, that makes him, among 18th century painters, one of the closest to modern sensibilities. His many imitators, such as Nicolas Lancret and Jean-Baptiste Pater, borrowed his themes but could not capture his spirit.

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 or Gilles, with his slowly fading smile, seems a confused actor who appears to have forgotten his lines; he has materialized into the fearful reality of existence, sporting as his only armor the pathetic clown costume. The painting may be read as Watteau's wry comment on his mortal illness.

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, "to take the chill off his fingers", 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 described as Watteau's Las Meninas, in that the theme appears to be the promotion of art. The scene is an art gallery where the façade has magically vanished. The gallery and street in the canvas are fused into one contiguous drama.

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 and 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.

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". Sir Michael Levey once noted that Watteau "created, unwittingly, the concept of the individualistic artist loyal to himself, and himself alone". 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.

Soon after his death a series of engravings was made after his works, The Recueil Jullienne. 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 Jean de Jullienne, but was often very high. Such a comprehensive record was hitherto unparalleled. 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. According to the 1911 Britannica, "in his treatment of the landscape background and of the atmospheric surroundings of the figures can be found the germs of Impressionism". 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. A revived vogue for Watteau began in England during the British Regency, and was later encapsulated by the Goncourt brothers and the World of Art. 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 tercentenary of his birth in 1984. Since 2000 a Watteau centre has been established at Valenciennes by Professor Chris Rauseo. A catalogue of his drawings has been compiled by Pierre Rosenberg, replacing the one by Sir Karl Parker, and Alan Wintermute is preparing one for his paintings.

La Surprise, painted around 1718, was known only through a copy in the Royal Collection before the original was found during a routine insurance valuation in 2007. The oil painting shows an actor playing a guitar on a stone bench looking across at a couple locked in an amorous embrace. The action is watched by a small dog in the corner. The painting was sold at auction on July 8, 2008 for 15 million Euros; this set a world record price for a painting by Watteau.

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.

In the final scenes of Stanley Kubrick's 2001: A Space Odyssey, after his journey thorugh the Star Gate, astronaut David Bowman finds himself in a stark room resembling a hotel, with several reproductions of Watteau paintings on the walls. Watteau's work was also a key visual reference for Kubrick's later film Barry Lyndon.

The French film Ce que mes yeux ont vu (What my eyes saw; 2007) by Jean-Pierre Marielle, starring Sylvie Testud and Jean-Pierre Marielle, depicts a fictional academic investigation of Watteau's works. In the plot, Watteau supposedly had a secret love relation with Comédie-Française actress Charlotte Desmares.

In the Nintendo 3DS art-training software, New Art Academy, one of its minor lessons (known as Minilessons) featured an actual three-coloured pencil sketch by Watteau, in which the software was using it as an example of the aux trois crayons art technique.

[Biography - Jean Antoine Watteau - 10Ko]
Jean-Antoine Watteau (October 10, 1684 – July 18, 1721) was a French painter whose brief career spurred the revival of interest in colour and movement (in the tradition of Correggio and Rubens), and revitalized the waning Baroque idiom, which eventually became known as Rococo. He is credited with inventing the genre of fêtes galantes: scenes of bucolic and idyllic charm, suffused with an air of theatricality. Some of his best known subjects were drawn from the world of Italian comedy and ballet.

Early life and training

Watteau was born in the town of Valenciennes, which had recently passed from the Spanish Netherlands to France. His father was a master tiler. Showing an early interest in painting, he was apprenticed to Jacques-Albert Gérin, a local painter. Having little to learn from Gérin, Watteau left for Paris in about 1702. There he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition; it was in that period that he developed his characteristic sketchlike technique.

In 1703 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIV's reign. In Gillot's studio Watteau became acquainted with the characters of the commedia dell'arte (its actors had been expelled from France several years before), a favorite subject of Gillot's that would become one of Watteau's lifelong passions. Afterward he 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, where 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 he would later study in the collection of his patron and friend, the banker Pierre Crozat.

Career

In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required "reception piece", but it was one of his masterpieces: the Pilgrimage to Cythera, also called the Embarkation for Cythera.

Interestingly, while Watteau's paintings seem to epitomize the aristocratic elegance of the Régence (though he actually lived most of his short life under the oppressive climate of Louis XIV's later reign), he never had aristocratic patrons. His buyers were bourgeois such as bankers and dealers.

Although his mature paintings seem to be so many depictions of frivolous fêtes galantes, they in fact display a sober melancholy, a sense of the ultimate futility of life, that makes him, among 18th century painters, one of the closest to modern sensibilities. His many imitators, such as Nicolas Lancret and Jean-Baptiste Pater, borrowed his themes but could not capture his spirit.

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 or Gilles, with his slowly fading smile, seems a confused actor who appears to have forgotten his lines; he has materialized into the fearful reality of existence, sporting as his only armor the pathetic clown costume. The painting may be read as Watteau's wry comment on his mortal illness.

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, "to take the chill off his fingers", 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 described as Watteau's Las Meninas, in that the theme appears to be the promotion of art. The scene is an art gallery where the façade has magically vanished. The gallery and street in the canvas are fused into one contiguous drama.

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 and 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.

Critical assessment and legacy

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". Sir Michael Levey once noted that Watteau "created, unwittingly, the concept of the individualistic artist loyal to himself, and himself alone". 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.

Soon after his death a series of engravings was made after his works, the Receuil Jullienne. 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 Jean de Jullienne, but was often very high. Such a comprehensive record was hitherto unparalleled. 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. According to the 1911 Britannica, "in his treatment of the landscape background and of the atmospheric surroundings of the figures can be found the germs of Impressionism". 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. A revived vogue for Watteau began in England during the British Regency, and was later encapsulated by the Goncourt brothers and the World of Art. 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 tercentenary of his birth in 1984. Since 2000 a Watteau centre has been established at Valenciennes by Professor Chris Rauseo. A catalogue of his drawings has been compiled by Pierre Rosenberg, replacing the one by Sir Karl Parker, and Alan Wintermute is preparing one for his paintings.

Lost painting found

La Surprise, painted around 1718, was known only through a copy in the Royal Collection before the original was found during a routine insurance valuation in 2007. The oil painting shows an actor playing a guitar on a stone bench looking across at a couple locked in an amorous embrace. The action is watched by a small dog in the corner. The painting was sold at auction on July 8, 2008 for 15 million Euros; this set a world record price for a painting by Watteau.
[Biography - Jean Antoine Watteau - 9Ko]
Jean Antoine Watteau (ou Wateau), né à Valenciennes le 10 octobre 1684 et mort à Nogent-sur-Marne le 18 juillet 1721, est un peintre français. Il est un des créateurs représentants du mouvement rococo. Inspiré par la commedia dell'Arte, il aime à représenter le théâtre dans ses tableaux, que ce soit à travers les rideaux lourds ou les thèmes. Ses t...
[Biography - Jean Antoine Watteau - 9Ko]
Jean-Antoine Watteau (10 Octobre, 1684 - Juillet 18, 1721) était un peintre français dont la carrière brève stimulé le regain d'intérêt pour la couleur et le mouvement (dans la tradition du Corrège et Rubens), et revitalisé l'idiome affaiblissement baroque, qui a finalement est devenu connu comme rococo. Il est crédité d'inventer le genre de fêtes ...
[Biography - Jean Antoine Watteau - 12Ko]
Jean-Antoine Watteau (* 10. Oktober 1684 in Valenciennes † 18. Juli 1721 in Nogent-sur-Marne) war Maler des französischen Rokoko. Mit seinen „Fêtes galantes“ schuf er zu Beginn des 18. Jahrhunderts eine neue Bildgattung. Antoine Watteau war der zweite von vier Söhnen von Jean-Philippe Watteau (1660-1726) und seiner Frau Michelle Lardenois (1653-17...
[Biography - Jean Antoine Watteau - 9Ko]
Jean-Antoine Watteau (10. Oktober 1684 - 18. Juli 1721) war ein Französisch Maler, dessen kurze Karriere die Wiederbelebung des Interesses an Farbe und Bewegung (in der Tradition von Correggio und Rubens) und belebte das abnehmende barocke Idiom, das schließlich wurde bekannt als Rokoko. Er ist der Erfinder der Gattung der Fêtes galantes gutgeschri...
[Biography - Jean Antoine Watteau - 11Ko]
Jean Antoine Watteau (Valenciennes, 10 ottobre 1684 – Nogent-sur-Marne, 18 luglio 1721) è stato un pittore francese. L'artista si formò nella sua città natale presso Jeaques-Albert Gérin. Successivamente si trasferì a Parigi dove studio la pittura olandese, facendo conoscenza dei fiamminghi Vleughels e Spoede. Fatta eccezione per la Vera gaiezza (1...
[Biography - Jean Antoine Watteau - 4Ko]
Jean-Antoine Watteau (10 ottobre 1684 - 18 luglio 1721) è stato un pittore francese, la cui breve carriera stimolato la ripresa di interesse per il colore e il movimento (nella tradizione di Correggio e Rubens), e rivitalizzato l'idioma calante barocco, che alla fine divenne noto come rococò. Egli è considerato l'inventore del genere di feste galan...
[Biography - Jean Antoine Watteau - 10Ko]
Jean-Antoine Watteau (Valenciennes 10 de octubre de 1684 - Nogent-sur-Marne 18 de julio de 1721), pintor francés. Es uno de los grandes genios del último barroco francés y del primer rococó. Se le atribuye la creación del género de las fêtes galantes: escenas de cortejo amoroso y diversiones, con un encanto idílico y bucólico, bañadas en un aire ...
[Biography - Jean Antoine Watteau - 6Ko]
Jean-Antoine Watteau (10 octubre 1684 a 18 julio 1721) fue un pintor francés cuya breve carrera estimuló el renacimiento del interés en el color y el movimiento (en la tradición de Correggio y Rubens), y revitalizó el idioma barroco menguante, que con el tiempo se conocía como rococó. Se le atribuye la invención del género de fiestas galantes: las ...
[Biography - Jean Antoine Watteau - 11Ko]
Жан Антуан Ватто, более известный как Антуан Ватто (фр. Jean Antoine Watteau, 10 октября 1684, Валансьен — 18 июля 1721, Ножан-сюр-Марн) — французский живописец и рисовальщик, основоположник и крупнейший мастер стиля рококо. Биография Ватто принадлежит к числу самых любимых художников в мировой истории искусства. Благодаря усилиям братьев Гонкур, Б...
[Biography - Jean Antoine Watteau - 5Ko]
让-安东尼·华托(1684年10月10日-1721年7月18日)是法国罗可可时代代表画家。 1709年,华托申请去罗马的奖学金,被学院拒绝。1712年他再次申请也被拒絕,但被学院接纳为成员。他用了5年的时间画一幅订作的“招待卷”,但最后完成时成为他的名作《向爱情岛出发》,后来许多评论家为画面描写的是到达还是离开西地岛争论不休。(爱情岛是传说中维纳斯的诞生地)。 虽然华托的画作中描画的都是华丽高雅的场景,但其中含有潜藏的忧郁气氛,感觉到生活的琐碎和无奈,在18世纪的画家中,他是最具有现代气息的。后来有许多画家模仿他的场景,但无法模仿到他的精神底蕴。 华托后期的作品才从田园牧歌的场景中走出来,到了世俗的城市,他的《吉尔桑的招牌》描画了画廊商店的场景,表现了当时绘画成为商品的情况,但这幅画仍然充斥...
[Biography - Jean Antoine Watteau - 2Ko]
Jean-Antoine Watteau, mais conhecido por Antoine Watteau ou simplesmente Watteau ( 10 de Outubro de 1684, Valenciennes, França - 18 de Julho de 1721, Nogent-sur-Marne), foi um grande pintor francês do movimento rococó. Nasceu no centro da região de Hainaut, recém-incorporada ao território francês pelas tropas de Luís XIV. Morreu aos 37 anos. Era ti...
[Biography - Jean Antoine Watteau - 6Ko]
アントワーヌ・ヴァトー(Antoine Watteau 発音例, 1684年10月10日 - 1721年7月18日)は、ロココ時代のフランスの画家。 18世紀のヨーロッパはロココの時代であり、前世紀のバロック様式に代わって、曲線的、装飾的で甘美なロココ様式が全盛となった。絵画の主題においても歴史画や宗教画から、男女の愛の駆け引きを主題にした風俗画が目立つようになる。 「雅びな宴」(フェート・ギャラント、fêtes galantes)の画家と呼ばれるヴァトーは、若くして亡くなったが、18世紀フランスのロココ様式を代表する画家と見なされている。 1684年、フランス西北部、ベルギー国境に近いヴァランシエンヌに生まれる。この土地は元フランドルに属し、1678年のニメーグ条約でフランス領に編入された...
[Biography - Jean Antoine Watteau - 2Ko]
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