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Antoine Watteau
Jean-Antoine Watteau (October 10, 1684 - July 18,
1721) was a French painter.
He was born in the Flemish city 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-Dutch tradition.
The Embarkation for Cythera (Louvre version)In 1703, he was employed
as an assistant by the painter Claude Gillot. In his studio he took
contact with the characters of the commedia dell'arte, a favorite
subject of Gillot's, and one that would become one of Watteau's
lifelong passions. Afterwards he moved to the workshop of Claude
Audran III, an interior decorator, where he learned to imbue his
drawing with the consummate elegance that has come to characterize
it. 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 Maria 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, 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 in fact a departure from the island
of Cythera, the birthplace of Venus, being thus a sign of 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, and a sense of the ultimate meaninglessness
of life, that make him, among 18th century painters, one of the
closest to modern sensibilities. In this he is far superior to his
many imitators, like Nicolas Lancret and Jean-Baptiste Pater, who
borrowed his themes but couldn't capture his spirit.
Watteau's commedia dell'arte player of Pierrot, ca 1718-19, traditionally
identified as "Gilles" (Louvre)Among his most famous paintings
are Pilgrimage to Cythera (two versions), Pierrot (long identified
as "Gilles"), Fêtes venitiennes, Love in the Italian
Theater, Love in the French Theater, "Voulez-vous triompher
des belles?", Mezzetin and his last masterpiece, painted almost
at his deathbed, the Shop-sign of Gersaint.
Watteau used to alarm his friends by the carelessness
he displayed about his future and his financial security. He seemed
to foresee that he wouldn't live for long. In 1720, becoming ill,
he moved to England for a while, looking for a better climate, but
returned 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.
The paintings are the excellent portrayal of the events and scenes
that we see around us. The painters are the best cameras of the
world. They reproduce many different types of pictures. They even
draw imaginary pictures that do not exist in this world. We tend
to use both thinned oil paints and dense oil paints. Masterpieces
can be dyed more than once, but each time it may be different from
the existing paintings.h
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