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Biographie:
N Valenciennes, le 10 octobre 1684, fils dun matre-couvreur, marchand de tuiles, JeanAntoine Watteau , ds l'ge de dix ans, est mis en apprentissage chez Jacques-Albert Grin, lun des peintres renomms de la ville, dont le muse et les glises de Valenciennes conservent quelques ouvrages dans le got flamand. Antoine Watteau sinstalle Paris en 1702 la mort de Grin et tudie auprs du graveur et dcorateur de thtre Claude Gillot, qui lui communique son got pour la commedia dellArte italienne, pour les masques et les mascarades, les fantaisies galantes, les arabesques figurines, les mythologies et les singeries. Par la suite, le peintre aura la possibilit dtudier toute une srie de toiles baroques de Rubens, qui le marquent profondment. En 1709, Watteau remporte le second prix de Rome. Trois ans plus tard, en 1712, il postule de nouveau. Son uvre fut juge dune si grande qualit quil fut lu comme membre de plein droit de lAcadmie. En 1717 il prsenta son morceau de rception, le fameux "Plerinage lle de Cythre", toile mlancolique et mystrieuse. LAcadmie crera un genre spcialement pour lui : la "fte galante". Watteau mourra d'une maladie pulmonaire en 1721, l'ge de 37 ans chez son ami EdmFranois Gersaint. Ses uvres influenceront les impressionnistes par la lgret de latmosphre qui les nimbent. Jean-Antoine, le premier, introduit dans la peinture les joies de la vie rustique, les pastorales, les jeux de bergers et bergres. Ainsi il a su crer un monde potique o les ftes galantes se clbrent avec faste.
Rococo:
Le rococo est un mouvement artistique europen du XVIIIe sicle touchant principalement larchitecture, mais galement les arts dcoratifs, ainsi que la peinture et, dans une moindre mesure, la musique et la littrature. Il se dveloppa de 1730 1770, principalement dans le Saint Empire Romain Germanique (Allemagne, Autriche, Bohme), en Europe du Sud (Italie, Espagne, Portugal), la suite du mouvement baroque, pour crer un style d'une grande prodigalit, particulirement dans les glises et dans les lieux sacrs. Ce style culmina dans l'uvre de l'architecte et dcorateur bavarois d'origine flamande Franois de Cuvillis, dont le pavillon d'Amalienburg (1734-1739) Nymphenburg prs de Munich demeure un exemple ingal de parfaite fusion entre architecture et dcoration. Ce mouvement est progressivement remplac partir de 1760 par le noclassicisme qui, tel un mouvement de pendule, est un retour laustrit, ou du moins un retour aux canons de l'Antiquit.
La commedia dell'Arte:
La commedia dell'Arte est un genre de thtre populaire italien apparu avec les premires troupes de comdie avec masque, en 1528. Signifiant littralement : thtre interprt par des gens de lart ; autrement dit; des comdiens professionnels, le terme est, de nos jours, utilis dans de nombreuses langues, dont le franais. Elle tient ses racines des ftes du rire qui sont la base de grands carnavals. Le comique tait principalement gestuel. La plupart des acteurs taient des gymnastes de premier ordre capables de donner un soufflet avec le pied, ou dexcuter dans lintrieur de la salle de spectacle des ascensions prilleuses. Beaucoup dinitiative leur tait laisse et la verve de parole de lacteur, son talent mimique faisaient la plus grande partie du succs de la commedia dell'Arte. Les comdies se basaient sur des personnages bien reconnaissables et des caractres strotyps, avec une gestuelle emphatique, dialogues improviss, interludes musicaux et bouffonneries, pour satisfaire un vaste public. En France, les personnages comme Arlecchino (Harlequin) et Pedrolino (Pierrot ou Gilles) apparassent.
Fte galante:
Nom donn, essentiellement dans la peinture franaise du XVIIIe sicle, aux scnes de plein air montrant des couples d'amoureux runis dans des jardins ou des parcs, occups des divertissements de socit ou faisant de la musique. Rubens, reprenant des thmes vnitiens, est l'origine de ce genre (Jardin d'amour, Prado), dont Watteau s'est fait l'illustre et gnial spcialiste. Aprs la mort de Louis XIV en 1715, laristocratie franaise dlaisse les splendeurs de la cour de Versailles pour les maisons de ville plus intimes de Paris o ils peuvent sadonner jouer, lgamment vtus, fleureter et se mettre en scne daprs la commedia dellArte italienne.
La fte galante est troitement lie la fte champtre dont elle peut tre considre comme un type.
Borrowings of Watteau:
Watteau took his motives from very dissimilar artists, but Rubens remained his main source. 1) The dog in Watteau's Charmes de la Vie was borrowed from Rubens's Coronation of Marie de Medici. 2) The beautiful cupids in the second version of the Embarquement pour l'le de Cythre, this group has been taken from Rubens's Echange des deux princesses, which belongs to the same series of Marie de Medici's story. But there is a difference between those two garlands of figures. Watteau made some small alterations, omitted the wings and draperies and copied the whole in reverse. 3) In Watteau's Triomphe de Cers, both the dancing girls to the left and right of the car are borrowed from the famous composition of the Bolognese master, The triumph of Bacchus and Ariadne.
frame his head and call attention to him. His instrument (a musette de cour) is a common symbol of the male sexual organ. By bringing together heterogeneous pictorial elements- a swing, courtly dancers, a bagpipe player, a rural landscape setting- Watteau continued the approach of his early arabesque, where diverse elements are combined in an emphatically illogical and spatially incongruous fashion. In such paintings as The Shepherds, the artist fuses these elements into one logical whole.
Les Trois Cousines: This was a prose play by French comedy and tragedy playwright Florent Dancourt and it may have been an inspiration for The Embarkation for Cythera as a group of youths disguised as pilgrims of love prepare for a voyage to Cythera in the finale. Yet this may be the only similarity to Watteau's painting - Dancourt's sarcastic parody would be a spotty reflection of Watteau's happy and hazy dream. La Ventienne: Houdar de la Motte's opera ballet seems a more likely inspiration for The Embarkation for Cythera as it featured stock characters of the Commedia dell'Arte and other pilgrims who accepted the invitation to the island of love. Watteau pursued both of these themes.
The lighting cast in this dream plays up the bright colors of the character's clothing. The center of the canvas lights up the three main couples and the shadows retreat to play in the trees so less attention is paid to other characters.
3) La Boudeuse- 1718
La Boudeuse Story / Theme:
Much unlike his other, happier works where his characters enjoy the gayness of the festivities, Watteau's La Boudeuse or Capricious Girl tells a tale of thwarted, frustrated love. The girl appears flirty by nature but her posture reveals a haughtier attitude. She sits up straight, her back turned to her pursuer. One must take note of her flustered cheeks - perhaps the gentleman behind her has said something flirtatious to embarrass her. Maybe her interests are peaked and the flushing of her cheeks reveals her excitement. Or, it is possible that the man has gone too far and has said something to enrage her. It could be that the moment before she was facing him - but now, annoyed with his inappropriateness, she has turned her back refusing to look at him, her posture now rigid. Conversely, the man's posture is of the opposite nature. He leans on his arm, head cocked, staring at her. At best he's hoping that she will relax even if it's just enough to turn her head slightly to look him in the eyes, or even better, give him a wink. He's waiting for some kind of signal, but it seems even his patience is about to run out.
La Boudeuse Analysis:
La Boudeuse is perhaps Watteau's most blatant portrayal of love. With no kooky characters from the Commedia dell'Arte, no musicians, and without bright wardrobes to distract the viewers, Watteau's intended frustration is obvious with just the young girl and man to focus on. Composition:
The canvas is closer to a square, a change from the more rectangular works common for Watteau. He positions the anxious couple to the left of the square, their bodies filling a fifth of the frame. A sparse landscape is in the distant foreground. Like the majority of Watteau's paintings, the perspective is head-on. Tone: The smug face and strict upright position of the young girl creates a subtly hostile mood. This is especially noticeable in contrast to the lax pose of the man behind her. The difference in their attitudes exemplifies the sexual frustration looming in the air. Brushstroke: Watteau's brushstroke in La Boudeuse creates a thick texture. Color palette: True to the style of Rococo, Watteau paints with a warm, neutral palette. The colors play quite nicely together and blend well, except for the light blue peaking out through the clouds. Lighting: The uppermost part of the painting is brighter than the lower portion. The girl's face is the most lit, her pursuer's face (just a head beneath her) a little less dim, and finally the remainder of her dress the least dimly lit.
the heavenward role of mezzetins upturned eyes so reminiscent of the expression of suffering saints in Baroque altarpieces. The gentle fall of light on his face, the remarkable foreshortened perspective of his features, and the sharp flickering accents on his parted lips and piercing eyes communicate an aching but ecstatic longing that serves to render this portrait of Loves martyr exceptional in Watteaus uvre, and an unsurpassed image of romantic aspiration and torment. Watteau has taken great pains to reproduce the comedians elaborately striped satin tunic and pantaloons, but, typically, he deviates from tradition by introducing pale blue stripes into a costume that should be white and red only, and by rendering Mezzetins beret in rose-coloured silk, rather than in the same fabric as the tunic. Although Watteau did not generally make drawings with particular compositions in mind, his famous study for Mezzetin seems to be an exception. The unusual position of the models head, his upturned glance, and the way the light falls across his face all suggest that Watteau had already laid out the composition of his painting and made the study in order to work out the final nuances of his subjects expression; the faint chalk lines around the head indicate the position of the large beret that the actor wears in the painting. Many of his figures appear isolated, scarcely aware of their fellow actors in the composition, and, all too frequently, they have their backs turned towards us. The Mezzetin is a typical example. Here, the musician plays to an unseen lady while, behind him, the statue of a woman faces stonily away into the distance, in an attitude of cold rejection. Usually, the wistful atmosphere of the ftes galantes is interpreted as a reflection of Watteaus sickly constitution. Love, happiness and health are portrayed with great poetic sensibility, but they are seen from a distance as bounties which cannot be shared by the artist who depicts them. Even the players involved in the idylls seem aware that their happiness cannot last.
designer Claude Gillot. Gillot introduced Watteau to the theater, specifically the Italian Commedia dell'Arte. In this piece Pierrot is the main attraction on the stage but is not the only character from the Commedia dell'Arte feature in his painting; the doctor on his donkey, the lovers Leander and Isabella, and the captain also make an appearance. Where style is concerned, Watteau's inspiration is borrowed from interior designer Claude Audran III whom he worked with after Gillot. His airy style can be attributed to what he learned with Audran. Watteau transformed the style that had begun to dominate interior design into his paintings.
Pierrot is seen head-on, enveloped by the characters below him and the trees surrounding him. The negative space in the upper left-hand corner draws attraction to his confused expression. Color palette: Watteau portrays all of this through light brushstrokes and equally delicate colors. He paints with a mostly neutral palette except for the laces of Pierrot's shoes and the bright red costume below him.
Interiors of picture galleries were a popular subject for enlightened art collectors and served as a record of identification. Though L'Enseigne de Gersaint may not truly depict Gersaint's interior, one can still admire the art seller's choices in paintings, two of which possibly belong to Ricci or Rubens. Rubens was a master Baroque painter whom Watteau studied very closely, especially his Medici series.
the silk stand out even more, and one can imagine how the shadows danced toward the light as the ladies moved around to view the art on display. If painting consists, not in the expression of tragedies upon a canvas, but in inventing with poetic feeling, an impressing by color, Watteau is the greatest of French painters. None has surpassed him in his love of nature and his feeling for the ideal. - De Banville