Antoine Watteau: Drawings 115 Colour Plates
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Antoine Watteau - Maria Peitcheva
Antoine Watteau: Drawings
115 Colour Plates
By Maria Peitcheva
First Edition
*****
Antoine Watteau: Drawings
115 Colour Plates
*****
Copyright © 2015 by Maria Peitcheva
Foreword
One of the most brilliant and original artists of the eighteenth century, Antoine Watteau (1684–1721) had an impact on the development of Rococo art in France and throughout Europe lasting well beyond his lifetime. Living only thirty-six years, and plagued by frequent illness, Watteau nonetheless rose from an obscure provincial background to achieve fame in the French capital during the Regency of the duc d'Orléans. His paintings feature figures in aristocratic and theatrical dress in lush imaginary landscapes. Their amorous and wistful encounters create a mood but do not employ narrative in the traditional sense. During Watteau's lifetime, a new term, fête galante, was coined to describe them. Watteau was also a gifted draftsman whose sparkling chalk sheets capture subtle nuances of deportment and expression.
The son of a roofer, Watteau was born in 1684 in Valenciennes, a small city in the north that had only been ceded to France from the Spanish Netherlands six years earlier. Details of his initial training remain obscure, but early biographers concur that shortly upon arriving in the French capital, Watteau was employed in the mass production of crude copies of devotional paintings. Sometime around 1705, he began working for Claude Gillot, who specialized in comic scenes inspired by the commedia dell'arte and who, in turn, introduced him to Claude Audran III (1658–1734), a designer of ornament and interior decoration. Working under these two influential masters, Watteau developed his mature style, increasingly incorporating theatrical subject matter and designs based on the airy arabesques that had begun to dominate interior design.
Despite his unconventional training, Watteau was permitted to compete for the Prix de Rome at the Royal Academy of Painting and Sculpture. He won a second-place prize in 1709, but to his