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1</head><body><div class="flex min-h-screen flex-col bg-background text-foreground themed"><header class="sticky top-0 z-40 border-b border-border/60 bg-background/80 backdrop-blur"><div class="mx-auto flex max-w-6xl items-center justify-between gap-6 px-6 py-4"><a class="group flex flex-col leading-tight active" href="/" data-status="active" aria-current="page"><span class="font-display text-xl font-semibold tracking-tight text-foreground">Jean-Antoine Watteau</span><span class="text-[11px] uppercase tracking-[0.18em] text-muted-foreground">Rococo</span></a><nav class="hidden items-center gap-1 md:flex" aria-label="Primary"><a class="rounded-full px-3 py-1.5 text-sm transition-colors bg-foreground text-background active" href="/" data-status="active" aria-current="page">Home</a><a href="/biography.html" class="rounded-full px-3 py-1.5 text-sm transition-colors text-muted-foreground hover:text-foreground">Biography</a><a href="/the-complete-works.html" class="rounded-full px-3 py-1.5 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src="/api/img/jean-antoine-watteau/b/a/base_17456528.jpg?w=900&q=60&v=3"/><div class="absolute inset-x-0 bottom-0 bg-gradient-to-t from-black/70 via-black/30 to-transparent p-6"><p class="font-display text-2xl text-white md:text-3xl">Nymph and Satyr</p></div></a><a href="/Shepherds.html" class="group relative h-[70vh] w-[80vw] shrink-0 snap-center overflow-hidden bg-muted md:w-[60vw] lg:w-[55%]"><img alt="Shepherds by Jean-Antoine Watteau" class="h-full w-full object-cover transition-transform duration-[1200ms] group-hover:scale-[1.04]" src="/api/img/jean-antoine-watteau/paintingsL/96691/shepherds-reproduction-watteau.jpg?w=900&q=60&v=3"/><div class="absolute inset-x-0 bottom-0 bg-gradient-to-t from-black/70 via-black/30 to-transparent p-6"><p class="font-display text-2xl text-white md:text-3xl">Shepherds</p><p class="mt-1 text-xs uppercase tracking-[0.2em] text-white/75">1717-19</p></div></a><a href="/The-Island-Of-Cythera-1709.html" class="group relative h-[70vh] w-[80vw] shrink-0 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1<a href="/L-Amour-Au-The%C3%A2tre-Italien.html" class="group relative h-[70vh] w-[80vw] shrink-0 snap-center overflow-hidden bg-muted md:w-[60vw] lg:w-[55%]"><img alt="L'amour au théâtre italien by Jean-Antoine Watteau" class="h-full w-full object-cover transition-transform duration-[1200ms] group-hover:scale-[1.04]" src="/api/img/jean-antoine-watteau/paintingsL/213691/l-amour-au-theatre-italien-rep.jpg?w=900&q=60&v=3"/><div class="absolute inset-x-0 bottom-0 bg-gradient-to-t from-black/70 via-black/30 to-transparent p-6"><p class="font-display text-2xl text-white md:text-3xl">L'amour au théâtre italien</p></div></a></div></section><section class="mx-auto mt-16 grid max-w-5xl gap-10 px-6 md:grid-cols-[280px_1fr]"><div class="text-center"><img alt="Portrait of Jean-Antoine Watteau" class="mx-auto w-full max-w-[260px] border border-border" src="/api/img/jean-antoine-watteau/b/a/base_7694118.jpg?w=900&q=60&v=3"/><p class="mt-3 text-sm italic text-muted-foreground">Self Portrait</p></div><div><h1 class="font-display text-4xl leading-tight text-foreground md:text-5xl">Jean-Antoine Watteau</h1><p class="mt-2 text-sm uppercase tracking-[0.15em] text-muted-foreground">(October 10, 1684 - July 18, 1721)</p><div class="prose-bio mt-6 text-[15px] leading-relaxed text-foreground/90"> 2 3 4 5<div class="main-bio-text"> 6 7 8 9 10<p><strong>Jean-Antoine Watteau</strong> (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.</p> 11 12<p>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 of Flemish descent. 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.</p> 13</div> 14</div><a href="/biography.html" class="mt-6 inline-block rounded border border-border px-4 py-2 text-sm text-accent hover:bg-muted">Click here for more</a></div></section><section class="mx-auto mt-16 max-w-5xl px-6"><div><div class="mt-6 flex flex-col gap-3 md:flex-row md:items-center md:justify-between"><input type="search" placeholder="Search paintings by title..." class="w-full rounded border border-border bg-background px-3 py-2 text-sm text-foreground outline-none focus:border-foreground md:max-w-sm" aria-label="Search paintings" value=""/><div class="flex items-center gap-3"><label class="text-sm text-muted-foreground" for="paintings-sort">Sort by:</label><select id="paintings-sort" class="rounded border border-border bg-background px-2 py-2 text-sm text-foreground outline-none focus:border-foreground"><option value="newest">Newest</option><option value="popularity" selected="">Popularity</option><option value="alpha">Alphabetical</option></select></div></div><div class="mt-2 text-sm text-muted-foreground">Page <!-- -->1<!-- --> of <!-- -->20<!-- --> | Paintings: <!-- -->237</div><div class="mt-8 grid grid-cols-2 gap-x-4 gap-y-10 md:grid-cols-3"><a href="/La-Gamme-D-Amour-The-Love-Song-C.-1717.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="'La gamme d'amour' (The Love Song) c. 1717 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/b/a/base_7694118.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">'La gamme d'amour' (The Love Song) c. 1717</p></a><a href="/Kneeling-Male-Nude.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Kneeling Male Nude by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/b/a/base_7693618.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">Kneeling Male Nude</p></a><a href="/Les-Charmes-De-La-Vie-The-Music-Party-C.-1718.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Les Charmes de la Vie (The Music Party) c. 1718 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/b/a/base_7694418.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">Les Charmes de la Vie (The Music Party) c. 1718</p></a><a href="/The-Embarkation-For-Cythera-1717.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="The Embarkation for Cythera 1717 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/paintingsL/76957/the-embarkation-for-cythera-17.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">The Embarkation for Cythera 1717</p></a><a href="/Fetes-Venitiennes-1718-19.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Fetes Venitiennes 1718-19 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/b/a/base_7693017.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">Fetes Venitiennes 1718-19</p></a><a href="/Harlequin-And-Columbine-1716-18.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Harlequin and Columbine 1716-18 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/b/a/base_7693317.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">Harlequin and Columbine 1716-18</p></a><a href="/Jupiter-And-Antiope-1715-16.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Jupiter and Antiope 1715-16 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/paintingsL/103250/jupiter-and-antiope-1715-16-re.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">Jupiter and Antiope 1715-16</p></a><a href="/La-Danse-Champ%C3%AAtre-Pastoral-Dance.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="La Danse Champêtre (Pastoral Dance) by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/paintingsL/117432/la-danse-champetre-pastoral-da.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">La Danse Champêtre (Pastoral Dance)</p></a><a href="/The-Indifferent-Man-1717.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="The Indifferent Man 1717 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/o/r/original_3434.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">The Indifferent Man 1717</p></a><a href="/Diana-Bathing-1721.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Diana Bathing 1721 by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" src="/api/img/jean-antoine-watteau/o/r/original_3450.jpg?w=900&q=60&v=3"/></div><p class="mt-3 font-display text-[15px] font-semibold leading-snug text-foreground">Diana Bathing 1721</p></a><a href="/Embarkation-For-Cythera.html" class="group block text-center"><div class="aspect-[4/3] overflow-hidden bg-muted"><img alt="Embarkation for Cythera by Jean-Antoine Watteau" loading="lazy" class="h-full w-full object-cover transition-transform duration-700 group-hover:scale-[1.03]" 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14<script>(function(a,f){let l;try{l=JSON.parse(sessionStorage.getItem(a)||"{}")}catch{return}const n=l?.[f||history.state?.__TSR_key];let c=!1;for(const t in n){const e=n[t],o=e?.scrollX,s=e?.scrollY;if(Number.isFinite(o)&&Number.isFinite(s)){if(t==="window")scrollTo(o,s),c=!0;else if(t)try{const r=document.querySelector(t);r&&(r.scrollLeft=o,r.scrollTop=s)}catch{}}}if(c)return;const i=location.hash.slice(1);if(i){const t=history.state?.__hashScrollIntoViewOptions??!0;if(t){const e=document.getElementById(i);e&&e.scrollIntoView(t)}return}scrollTo(0,0)})("tsr-scroll-restoration-v1_3");document.currentScript.remove()</script>
14<!--/$--></main><footer class="mt-24 border-t border-border/60 bg-muted/30"><div class="mx-auto max-w-6xl px-6 py-10"><div class="flex flex-col gap-4 md:flex-row md:items-end md:justify-between"><div><p class="font-display text-lg text-foreground">Jean-Antoine Watteau</p><p class="text-sm text-muted-foreground">(October 10, 1684 - July 18, 1721)<!-- --> · French<!-- --> · Rococo</p></div><p class="text-xs text-muted-foreground">© <!-- -->2026<!-- --> <!-- -->Jean-Antoine Watteau<!-- -->. Editorial reference site. Images are in the public domain.</p></div></div></footer></div><section aria-label="Notifications alt+T" tabindex="-1" aria-live="polite" aria-relevant="additions text" aria-atomic="false"></section>
14<script class="$tsr" id="$tsr-stream-barrier">(self.$R=self.$R||{})["tsr"]=[];self.$_TSR={h(){this.hydrated=!0,this.c()},e(){this.streamEnded=!0,this.c()},c(){this.hydrated&&this.streamEnded&&(delete self.$_TSR,delete self.$R.tsr)},p(e){this.initialized?e():this.buffer.push(e)},buffer:[]};$_TSR.router=($R=>$R[0]={manifest:$R[1]={routes:$R[2]={__root__:$R[3]={preloads:$R[4]=["/assets/index-Du2F0RY9.js","/assets/jsx-runtime-DGeXAQPT.js","/assets/react-BhjfaixL.js","/assets/react-dom-D15Ble1V.js","/assets/createServerFn-Bly2lcL9.js","/assets/useStore-BQsAo5OC.js","/assets/invariant-DEEwAagU.js","/assets/qss-B4cMWIbE.js","/assets/matchContext-BqL1ecfS.js","/assets/redirect-Dhm19zUi.js","/assets/link-VOFt2yun.js","/assets/useRouter-BZGafYIh.js"],scripts:$R[5]=[$R[6]={attrs:$R[7]={type:"module",async:!0,src:"/assets/index-Du2F0RY9.js"}}]},"/":$R[8]={preloads:$R[9]=["/assets/routes-CG1kLuzI.js"]}}},matches:$R[10]=[$R[11]={i:"__root__�",u:1790945940086,s:"success",l:$R[12]={artist:$R[13]={slug:"jean-antoine-watteau",name:"Jean-Antoine Watteau",fullName:"Jean-Antoine Watteau",lifespan:"(October 10, 1684 - July 18, 1721)",birthDeath:"1684-1721",nationality:"French",movement:"Rococo",shortBioHtml:"\r\n\r\n\r\n\r\n\x3Cdiv class=\"main-bio-text\">\r\n\r\n\r\n\r\n\r\n\x3Cp>\x3Cstrong>Jean-Antoine Watteau\x3C/strong> (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.\x3C/p>\r\n\r\n\x3Cp>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 of Flemish descent. 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.\x3C/p>\r\n\x3C/div>\r\n",biography:$R[14]=[$R[15]={title:"Early life and training",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>\x3Cstrong>Jean-Antoine Watteau\x3C/strong> 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 of Flemish descent. 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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:"portrait-of-pater",align:"right"},$R[16]={title:"Mature works",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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 an art shop in Paris 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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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 a fan 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.\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:"l-enseigne-de-gersaint-the-shopsign",align:"left"},$R[17]={title:"Critical assessment and legacy",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>
14Little 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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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 Europe during the Victorian era and was later encapsulated by the Goncourt brothers and the World of Art. In 1984 Watteau societies were created in Paris and London. Since 2000 a Watteau centre has been established at Valenciennes.\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:"entertainment-in-the-open-air-1721",align:"right"},$R[18]={title:"Lost painting found in country house",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>La Surprise, painted around 1718, was known only through a copy in the collection at Buckingham Palace in London before the original was found during a valuation in 2007. The oil painting shows an actor playing a guitar on a stone bench looking across at a couple locked in an amorous embrace. The action is watched by a small dog in the corner.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>The painting was sold at auction on July 8, 2008, for 15 millions of Euros, set a world record price for the artist. (From Wikipedia)\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:void 0,align:void 0}],helpfulLinks:$R[19]=[$R[20]={heading:"Related pages",items:$R[21]=[$R[22]={title:"Jean-Antoine Watteau at Wikipedia",url:"http://en.wikipedia.org/wiki/Antoine_Watteau"},$R[23]={title:"The Artchive - Jean-Antoine Watteau",url:"http://www.artchive.com/artchive/W/watteau.html"},$R[24]={title:"Catholic Encyclopedia: Jean Antoine Watteau",url:"http://www.newadvent.org/cathen/15568a.htm"},$R[25]={title:"Watteau on www.3d-dali.com",url:"http://www.3d-dali.com/Artist-Biographies/Jean_Antoine_Watteau.html"},$R[26]={title:"Antoine Watteau: Biography from Answers.com",url:"http://www.answers.com/topic/antoine-watteau"}]},$R[27]={heading:"Museums, exhibitions",items:$R[28]=[$R[29]={title:"J. Paul Getty Museum",url:"http://www.getty.edu/art/gettyguide/artMakerDetails?maker=365&page=1"},$R[30]={title:"Indianapolis Museum of Art",url:"http://collection.imamuseum.org/results.html?query=jean-antoine++watteau+%28french%2C+1684-1721%29&has_image=T"},$R[31]={title:"Louvre Museum",url:"http://cartelen.louvre.fr/cartelen/visite?srv=rs_display_res&critere=Jean-Antoine+Watteau&operator=AND&photoOnly=true&nbToDisplay=20&langue=fr"}]},$R[32]={heading:"Web Galleries",items:$R[33]=[$R[34]={title:"Watteau paintings at the Web Gallery of Art ",url:"http://www.wga.hu/frames-e.html?/html/w/watteau/antoine/1/index.html"}]}],sliderPaintingSlugs:$R[35]=["nymph-and-satyr","shepherds","the-island-of-cythera-1709","the-champs-elysees-1719","l-amour-au-the-tre-italien"],themeId:"default",portraitArt:"/api/img/jean-antoine-watteau/b/a/base_7694118.jpg?w=900&q=60&v=3",paintings:$R[36]=[$R[37]={slug:"a-halt-during-the-chase-1
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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.\x3C/p>\r\n\r\n\x3Cp>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 of Flemish descent. 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.\x3C/p>\r\n\x3C/div>\r\n",biography:$R[280]=[$R[281]={title:"Early life and training",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>\x3Cstrong>Jean-Antoine Watteau\x3C/strong> 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 of Flemish descent. 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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:"portrait-of-pater",align:"right"},$R[282]={title:"Mature works",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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 an art shop in Paris 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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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 a fan 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.\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:"l-enseigne-de-gersaint-the-shopsign",align:"left"},$R[283]={title:"Critical assessment and legacy",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>
14Little 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.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>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 Europe during the Victorian era and was later encapsulated by the Goncourt brothers and the World of Art. In 1984 Watteau societies were created in Paris and London. Since 2000 a Watteau centre has been established at Valenciennes.\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:"entertainment-in-the-open-air-1721",align:"right"},$R[284]={title:"Lost painting found in country house",html:"\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>La Surprise, painted around 1718, was known only through a copy in the collection at Buckingham Palace in London before the original was found during a valuation in 2007. The oil painting shows an actor playing a guitar on a stone bench looking across at a couple locked in an amorous embrace. The action is watched by a small dog in the corner.\x3C/p>\r\n\x3C/div>\r\n\r\n\x3Cdiv class=\"bio-paragraph\">\r\n\x3Cp>The painting was sold at auction on July 8, 2008, for 15 millions of Euros, set a world record price for the artist. (From Wikipedia)\x3C/p>\r\n\x3C/div>\r\n",pictureSlug:void 0,align:void 0}],helpfulLinks:$R[285]=[$R[286]={heading:"Related pages",items:$R[287]=[$R[288]={title:"Jean-Antoine Watteau at Wikipedia",url:"http://en.wikipedia.org/wiki/Antoine_Watteau"},$R[289]={title:"The Artchive - Jean-Antoine Watteau",url:"http://www.artchive.com/artchive/W/watteau.html"},$R[290]={title:"Catholic Encyclopedia: Jean Antoine Watteau",url:"http://www.newadvent.org/cathen/15568a.htm"},$R[291]={title:"Watteau on www.3d-dali.com",url:"http://www.3d-dali.com/Artist-Biographies/Jean_Antoine_Watteau.html"},$R[292]={title:"Antoine Watteau: Biography from Answers.com",url:"http://www.answers.com/topic/antoine-watteau"}]},$R[293]={heading:"Museums, exhibitions",items:$R[294]=[$R[295]={title:"J. Paul Getty Museum",url:"http://www.getty.edu/art/gettyguide/artMakerDetails?maker=365&page=1"},$R[296]={title:"Indianapolis Museum of Art",url:"http://collection.imamuseum.org/results.html?query=jean-antoine++watteau+%28french%2C+1684-1721%29&has_image=T"},$R[297]={title:"Louvre Museum",url:"http://cartelen.louvre.fr/cartelen/visite?srv=rs_display_res&critere=Jean-Antoine+Watteau&operator=AND&photoOnly=true&nbToDisplay=20&langue=fr"}]},$R[298]={heading:"Web Galleries",items:$R[299]=[$R[300]={title:"Watteau paintings at the Web Gallery of Art ",url:"http://www.wga.hu/frames-e.html?/html/w/watteau/antoine/1/index.html"}]}],sliderPaintingSlugs:$R[301]=["nymph-and-satyr","shepherds","the-island-of-cythera-1709","the-champs-elysees-1719","l-amour-au-the-tre-italien"],themeId:"default",portraitArt:"/api/img/jean-antoine-watteau/b/a/base_7694118.jpg?w=900&q=60&v=3",paintings:$R[302]=[$R[303]={slug:"a-halt-during-the-chase-1
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