Rococo Watteau JeanAntoine French 1684 1721 BachPartita Nr

Rococo 화가 Watteau, Jean-Antoine ( French, 1684 -1721 ) Bach-Partita Nr. 3 E-dur, iii. Gavotte en Rondeau 1

Pierrot Gilles (Lovre, Paris)-1718 2

Italian Comedians-1720 3

Actors Of The Comedie (Hermitage Museum, Sant. Peterbrug)-1711 4

An Embarrasing. Pproposal (Hermitage Museum, Santpetersburg)-1715 5

Diane Au Bain (Loubvre)-1715 6

Embarkaion for Cythera (Lovre)-1717 7

Gersaint's Shopsign 8

Gilles & his Family (Wallace Collection, London)-1716 9

Happy Age, Golden Age (Kimbell Museum)-1716 10

Harlequin & Columbine (Wallace Collection, London)-1718 11

Holy Family, Rest On The Flight Into Egypt (Hermitage Museum, Russia)1719 12

La Finette (Louvre, Paris)-1717 13

Landscape With A Waterfall (Hermitage Museum, Santpetersburg)-1714 14

L'automne (Louvre)-1715 15

Le Faux Pas (Louvre)-1716 16

Le Jugement De Paris (Louvre)-1718 17

Les Deux Cousines (Louvre)-1716 18

Meeting On The Open Air (Gemaldegalerie, Dresden) 19

Mezzetin (Metropolitan Museum, N. Y. )-1718~20 20

Misstep (Louvre) 21

Nymphe et Satyre (Lovre)-1715 22

Peasant Dance (Private Collection)-1702 23

Pilgrimage to Cythera (Charlottenburg Palace, Berlin)-1717 24

Pleasures Of The Ball (Dulwich College, London) 25

Portrait D'un Gentilhomme (Louvre) 26

The Capricious Girl (Hermitage Museum, St. Petersburg)-1718 27

The Dance (Staatliche Museum, Berlin)-1718 28

The Elysian Realm (Walace Collection, London)-1718 29

The Embarkation for Cythera (Lovre)-1717 30

The French Comedians (Metropolitan Museum, N. Y. )-1720 -1 31

The Italian Comedy (Staatliche Museum, Berlin)-1714 32

the judgement of Paris(wallace collecton, london) 33

The Love Song (National Gallery, London)-1717 34

The Music Lesson (Wallace Collection, London)-1717 35

The Perfect Accord(Losangeles Museum)-1715 36

The Toilette (Wallace Collection, London) 37

The Venitian Festival (National Gallery, Scotland) 38

Two Cousins ( Lovre )-1716 39

Whatever I Build, Assassins Destroy (Pushkin Museum, Moscow) 40

3 Studies Of Open Hands, Drawing-1717 41

Drawing, Seated Women-1712 42

Young Woman's Head, Drawing -1717 43

Flute Player & Women, Drawing-1717 44

Head of A Man, Drawing (Metropolitan Museum, N. Y. )-1718 45

Head of Young Woman & 2 Boy 46

Seated Woman, Chalk (Metropolitan Museum, N. Y. )-1716~7 47

Seated Young Woman (Morgan Museum)-1716 48

Standing Nude Man Holding Bottles (Metropolitan Museum, N. Y. )-1715~6 49

Study Of A Woman's Head (Hermitage Museum, Santpetersburg)-1710 s 50

Woman In A Striped Dress, Drawing-1716 51

Watteau, Jean-Antoine Watteau, Antoine (1684 -1721). A French rococo artist whose charming and graceful paintings show his interest in theater and ballet, Antoine Watteau is probably best known for his fetes galantes. These romantic and idealized scenes depict elaborately costumed ladies and gentlemen at play in fanciful outdoor settings. Jean-Antoine Watteau was born on Oct. 10, 1684, in Valenciennes, France. In 1702 he traveled to Paris, where he supported himself by turning out religious pictures and copying the works of popular Dutch artists. In 1704 he began studying with Claude Gillot, who designed and executed scenery for the stage, passed on to Watteau his love of the Italian theater and the characters from the commedia dell'arte. In 1708 Watteau began working with Claude Audran, who had the care of the treasures at the Luxembourg Palace. This collection included a group of scenes from the life of Marie de' Medici painted in the early 1600 s by the Flemish master Peter Paul Rubens's influence can also be seen in Watteau's work. In 1709 -10 Watteau returned to Valenciennes, where he executed a series of military scenes. In the years 1710 -12 he painted the first of three versions of the myth of Cythera, the island of love for which pilgrims embark but never arrive. The paintings represented impossible dreams, the revenge of madness on reason and of freedom on moral rules. Watteau returned to Paris and in 1715 was befriended by Pierre Crozat, a rich financier and art collector who owned a splendid collection of Flemish and Italian paintings and who admired Watteau's paintings. Watteau lived for a time in the residence of Crozat, but after a while he left to live in seclusion. This began the period of his major paintings, including the fetes galantes. By 1719 Watteau was suffering from tuberculosis. That year he traveled to London to see a noted physician, Richard Mead, for whom he painted The Italian Comedians. In 1720 he returned to Paris and stayed with his friend E. F. Gersaint, an art dealer. For him he did Enseigne de Gersaint, a painting of the interior of Gersaint's shop intended for use as a signboard. Watteau's health continued to fail, and he moved to Nogent-sur-Marne just east of Paris, where he died on July 18, 1721. The paintings of Watteau and his fellow rococo painters Francois Boucher and Jean-Honore Fragonard fell from favor in the late 1700 s. His work was not fully appreciated again until the mid-1800 s. 52

Pierrot (also known as Gilles) c. 1718 -19; Oil on canvas; 184 x 149 cm; Musee du Louvre, Paris One of the few things we can be sure about, in this famous but enigmatic work, is the fact that Gilles is a Pierrot. Watteau may have painted it as a sign for the caf? run by the former actor, Belloni, who made his name as a Pierrot. The model, a friend or another actor, is unknown. Standing with his arms dangling at his sides, with a dreamy, naive look on his face, the moonstruck Pierrot stands out monumentally and idiosyncratically against a leafy Italianate background. At the foot of the mound, reminiscent of a fairground stage, four half-hidden figures--the Doctor on his donkey, L? ndre, Isabelle and the Capitaine--contribute to the singularity of the composition and the poetic drama. The Embarkation for Cythera 1717; Oil on canvas, 129 x 194 cm; Musee du Louvre, Paris Genre painting came back into favour when the Academy admitted Watteau to its ranks in 1717 on the presentation of this work, the subject of which was so novel that the term "f? e galante" was coined to describe it. Drawing its inspiration from theatre, the picture shows lovers in party dress--some wearing the pilgrim's hooded cape--coming to seek love on the island of Cythera, under the statue of its goddess, Venus. In an iridescent landscape which owes much to Venetian painting, allegory is caught up in the swirl of couples in a reverie; a new and less didactic interpretation of Titian's elegiac mode. 53