Antoine Watteau

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Jean-Antoine Watteau (October 10, 1684 - July 18, 1721) was a French Rococo painter.

1 Early life and training
2 Mature works
3 Critical assessment and legacy
4 References
5 External links

Early life and training

Watteau was born in the Flemish town of Valenciennes, which had just been annexed by the French king Louis XIV. 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.

Image:The Embarkation for Cythera.jpg

In 1703 he was employed as an assistant by the painter Claude Gillot. In his studio he became acquainted with the characters of the commedia dell'arte, 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.

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Mature works

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, instead of getting the one-year stay in Rome he was aiming for, 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. (Many commentators, however, note that it depicts a departure from the island of Cythera, the birthplace of Venus, thus symbolizing the brevity of love.)

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. Image:WatteauPierrot.jpg Among his most famous paintings 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.

Watteau's final masterpiece exits the pastoral forest locale for a mundane urban set of encounters, the Shop-sign of Gersaint.[1] This painting 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. Women in their finery peruse paintings for sale. It is perhaps a comment on the final commercial nature of the artistic enterprise. In many ways the aim of art is to represent a world no different than the world beyond the canvas. The gallery and street in this painting are also 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 1720, becoming ill, he moved to England for a while, looking for a better climate but returning in worse health. He died in Nogent-sur-Marne in 1721 at the age of 37.

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 is his paintings, is named after him.

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Critical assessment and legacy

If François Boucher, Fragonard, and other French Roccoco artists would later 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. When not depicting Roccoco whimsicality, he depicts the conflict of art and the external world. His Pierrot or Gilles 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.

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