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MURILLO, THE WORK OF . . . . 3.50 net BRENTANO'S, Fifth Ave. & 27th St., NEW YORK Digitized by the Internet Archive in 2015 https://archive.org/details/workofantoinewatOOwatt Selbstbildnis Radierung von Boucher nach einem Gemalde Watteaus THE WORK OF ANTOINE WATTEAU REPRODUCED IN One Hundred and Eighty-two Illustrations WITH A BIOGRAPHICAL INTRODUCTION NEW YORK BRENTANO’S M C M XI I I Copyright, IQI3, by Brentano’s ANTOINE WATTEAU HIS LIFE AND WORK The reign of Louis XIV saw Paris raised to the dignity of being the art centre of western Europe. The multiplicity of building en- terprises, for the beautifying of the French capital, undertaken by the great King, had so stirred the art circles of the Netherlands that artists began to migrate from thence to where they thought commis- sions could be more easily obtained. Paris was thus soon crowded with young men from Holland and Belgium, who had brought with them their palettes and paint boxes in eager expectancy for seizing the opportunity for distinction which seemed to offer itself in the city then rising in new beauty on the banks of the Seine. Among these artists was Antoine Watteau. Jean Antoine Watteau was born at Valenciennes, a town which only later became part of French territory, on the ioth of October, 1684. His father, Jean Phillippe Watteau, was a respectable citi- zen of the town following the trade of tiler — un modeste couvreur, he is called. His mother, Michelle Lardenoire, was a simple work- ing woman. So far as we know, Antoine was their only offspring, and we learn from the records at our disposal, that he was a feeble child, with a weak and delicate constitution. When but a boy of six he displayed a distinct talent for drawing. The tale is told that his father one day found the boy deeply absorbed in the big “ Lives of the Saints,” a volume every respectable household treasured as we do the family Bible. On going to see what it was that interested the lad so deeply, he was astonished to find that Antoine had cov- ered the margins of the pages of the book with drawings of all sorts of figures, and designs in colors; and so cleverly had he done these that the simple tiler was utterly nonplussed to know how it was that his child had acquired his remarkable skill. Antoine was sent to school, and it was the schoolmaster who, becoming aware of the boy’s natural genius, persuaded the father to allow the lad to receive proper 5 instruction in drawing. Old Watteau was not very willing, but he finally consented, remarking, that after all there was less risk in a painter breaking his neck by falling off a roof. Who was Watteau’s first teacher in drawing scarcely matters, since he proved to be incompetent and did the boy no good. But the time thus allowed the boy for the pursuit of his natural bent was of infinite value to him, because it left him free to indulge himself in his own fancy. Valenciennes was at that time a city of no small import- ance. It possessed several fine churches which contained paintings by Teniers and others, and there was also a number of societies and guilds of artists in the place. Among these the Guild of St. Luke is to be specially noted since its master, Jacques Albert Gerin, was a friend of Watteau’s father. To Gerin the elder Watteau went to show some of his son’s drawings, with the result that the master of the Guild urged the father strongly that the lad be encouraged. In 1698, there- fore, Antoine is found apprenticed to Gerin for three years, in accord- ance with the statutes of the corporation of the artists of the town. There can be no doubt whatever about the value to Watteau of this apprenticeship. Gerin sent the youth to copy the pictures in the churches of the town — the paintings of Rubens, Van Dyck, De Vos, Jordaens, Coques, Teniers and other Flemish masters. In addition to this copying work he drew, under his master’s guidance, designs and studies for original compositions. So industriously did he apply himself that in 1700, the beginning of the second year of his apprenticeship, he had finished his first painting, which he called “ La Varie Gaiete.” Of course this painting was a frank imitation of Teniers, but the execution of the details was not at all in the Flemish manner. The subject is a dancing scene outside a tavern, a genuine Dutch picture, but the almost exquisite treatment of the clothes of the figures is far from Dutch. In 1701 Watteau completed his second important work, “ Le Retour de Guingette,” still in the distinct Flemish style, picturing the closing time of a tavern. Here again, however, the treatment is quite un-Flemish. In this year also his master died, and Watteau was left to make his way alone in the world of art and life. Gerin had often spoken to his pupil of Paris, and had advised him to go there in order to study the works of the great masters of his art; but when Watteau sought his father’s help for this journey he was denied it. The tiler saw nothing in art as a money-making business. Watteau, however, could ill stand rebuke and criticism. His delicate consti- tution was the outward mark of a very sensitive nature. He felt, 6 moreover, he must at any cost fulfil the bent of his genius. He there- fore left Valenciennes, with what worldly goods he could scrape to- gether, and tramped his way to the great city of which his master had spoken so enthusiastically. It is thus that in 1702 we find him in Paris for the first time. Very little is known of how Watteau spent his first years in Paris. We are certain, however, that he must have suffered much priva- tion and great disappointment. He worked for a little while with Louis Metayer, a sort of decorative artist who dealt in cheap and crude works, employing very poorly paid young men and women to copy and draw and color for him. Watteau was glad of a job and sold himself for $3 a month and a plate of soup every day. And this was the great city of Paris! Watteau, however, soon showed his master that he was no com- mon dauber. He was not a mere copyist, because he could draw and paint his own compositions. On this account, therefore, his wages were increased until he was the happy receiver of $20 a month. But he grew tired of the drudgery, and left Metayer and his factory. During these slave days he had made the acquaintance of one of his countrymen, the painter Spoede, a young artist from Ant- werp, who was a pupil at the Royal Academy and had gained the Grand Prix. Spoede, no doubt, saw that Watteau was utterly out of his element and urged him to free himself from his wretched circumstances. It is probable also that Spoede introduced Watteau to Claude Gillot, a painter of grotesques and theatrical scenes. Gil- lot was employed to design the costumes for the Italian Theatre, and he was also a dealer in pictures. By whatever means Watteau came to know Gillot it is certain that towards 1703 Watteau was working in Gillot’s studio, and through Gillot the genius of Watteau ripened into fullness. Gerin had taught Watteau little more than the ele- ments of his art. In the evolution of Watteau’s genius Gerin plays a part similar to that played by Swanevelt in Rembrandt’s life. Gil- lot, however, became for Watteau what Pieter Lastmann had been to Rembrandt. In Gillot, Watteau found a master who could teach him what he himself did not know, and master and pupil came to love each other and to work together in harmony. It was under Gillot that Watteau studied the masterpieces in the galleries of Paris, and for five years he worked and studied and designed with passionate enthusiasm. He acquired a remarkable facility and fin- ish in designing and painting delightful figures for fans and snuff- boxes and decorative panels. In studying the paintings of the Vene- 7 tian School, the works of Veronese, Tintoretto and Titian, he ac- quired his fine sense for color. The five years he was with Gillot were years spent in the very atmosphere of the art life of Paris, and the experiences thus obtained changed Watteau the Fleming into Antoine Watteau the exquisite French artist, who made a new genre in art. Whatever may be the reason for the separation, Watteau left Gillot’s studio, and left it seemingly on bad terms. Probably Gil- lot had shown some jealousy of his pupil’s ability. In 1708 we find Watteau, a frequenter of the studio of Claude Audrin, and later in the same year he entered Audrin’s studio and competed for the Acad- emy prize of the year 1709. His intimacy with this new teacher was of quite a different character from that which he had had with Gillot. None of Watteau’s works, however, shows that Audrin in- fluenced him. Audrin was one of the most influential artists of his time and obtained many commissions from royalty. He decorated several famous palaces of the nobility, and in this work Watteau assisted him. Audrin was also inspector of the Luxembourg Gal- leries, so that Watteau had the great advantage of having the run of the place and free access to the famous gardens. Here Watteau met the beaux and belles of Parisian society, who made the gardens their meeting place. Audrin must have been an excellent man of business, and probably Watteau learned from him how to conduct his own affairs. Audrin, however, kept Watteau to his studies and saw to it that he worked at his Academy competition picture. In April, 1709, the Academy examined the sketches made by the com- petitors for the Grand Prix , and on the 23d of August of the same year the committee awarded the prize to Antoine Grison, and the second prize to Antoine Watteau. The failure to secure the much- coveted prize was a sad disappointment to Watteau, who had set his heart on going to Italy. The defeat hurt him deeply and filled him with such melancholy and chagrin that he became disgusted with the life of Paris and determined to go back to his native town. While working on the Academy picture he had secretly painted for his own private satisfaction a military picture — “ Le Depart des Troupes.” This picture he had the joy of selling to Sirois, the art dealer, and stepfather of Gersaint, for sixty livres, and to obtain a commission for a companion picture. Watteau had never had in his possession so much money. He set out at once for Valenciennes much encouraged and overjoyed, 8 especially because of the commission for the companion picture which was to bring him an additional two hundred livres. On Watteau’s return to Valenciennes, his parents, who had heard of their son’s great fame, received him with many demonstra- tions of affection. But the little town, after his experience of Paris life, was not what it had been to Watteau before he left it to seek his fortune. He found the place very provincial and dull. He came back to it the day after the battle of Malplaquet, on Sep- tember ii, 1709, and found the town being filled with wounded soldiers who were brought there to be nursed to health. Watteau had always had a great passion for military scenes and military people. The meeting with these soldiers set his imagination on fire and sent him working on his commission picture for Sirois. He finished it in a very short time and it is now known by the title, 11 Halte d’Armee.” During his brief stay at Valenciennes he also painted “ Le Recruit allant joindre le Regiment,” “ L’Escort d’Equipages,” and several smaller scenes of military life. To this same period is assigned two paintings, now at St. Petersburg, which are distinguished for their fine coloring, namely, “ Les Fatigues de la Guerre ” and “ Les De- lassements de la Guerre.” A year had scarcely elapsed when Watteau was once more in Paris. On this, his second visit, he seems to have been taken up by a great patron of art, Monsieur de Julienne, who was director of the Gobelins Tapestry Manufactory. Julienne and Watteau became very intimate, and Madame de Julienne often posed as a model for many of Watteau’s best pictures. Up to now Watteau’s work was appreciated only among a small circle of people, but in 1712 he obtained a wide reputation through the pictures he sent to the Academy. Watteau owes his election to the Academy to De la Fosse, who had a very high admiration for the artist’s work. His election was made unanimous, and he was given the free choice of his subject for his admission picture. For this admission picture, however, he kept the Academy waiting for five years. Watteau made a very valuable acquaintance through Julienne with Crozat, one of the great collectors of the eighteenth century, and it is said that Crozat kept Watteau busy with commissions for him, and permitted him free access to his collection, which included 1,900 drawings and 400 paintings by the greatest artists, especially exam- ples of Rubens, Titian, Van Dyck and Veronese. This collection was in Crozat’s fine mansion in the Rue de Richelieu, where Watteau did most of his work at this time. 9 It is possible that Watteau did not find the big house a quiet enough place to work in; and as he was also being petitioned by the Academy for his admission picture, he determined to move to more congenial quarters. He went to live in the house of the Flemish painter, Nicholas Vleughels, and here he completed his Academy picture, “ The Embarkation for the Island of Love,” and was received with Vleughels on the 28th of August, 1717, in the Academy as “ Maitre des Fetes Galantes.” The Academy picture proved a tremendous success. Jean Bar- rois and Antoine Coypel, the inspectors, examined it and accepted it. It was acclaimed as a most charming and delicate work, the like of which had never before been submitted for an Academy verdict. Parisian society feted and welcomed the artist and made him the fashion of the day. But Watteau remained little moved by this suc- cess. His weak constitution and highly sensitive nature made him extremely irritable. He resented flattery and stupid praise, and kept to himself, discontented at heart, but ever working to achieve the best that was in him. Julienne says that Watteau lived with Vleughels up to 1718, but it is probable that he stayed at the Flemish artist’s house until he set out on his journey to London. It was during this time of his residence with Vleughels that he painted the “ Concert,” now in the Wallace Collection, in which we recognize Vleughels as the listening man. The lost “ Concert Champetre ” is also of this time, for the cello-player in the centre of the picture is a portrait of Vleughels. The “Toilette du Matin” and the “Du Soir ” are also of the Vleughels period, and rough copies of both by Vleughels are in the Museum at Valenciennes. Watteau’s health, never robust, was now giving great anxiety to his friends. Some internal ailment distressed him considerably and deepened his melancholia and depression. Julienne, Crozat, Caylus and Gersaint met and advised Watteau to go to England and consult Dr. Meade, a famous specialist in diseases of the chest. Thus urged Watteau consented and, in October, 1719, he set out for England and took up his residence in Greenwich. Here, under Dr. Meade’s care, he painted “ Les Comedienes Italiens ” and “ L’Amour Paisible ” for his physician, and “ Le Repos Dans un Bois ” and “ Le Bal Champetre,” now in the Dulwich Gallery. Dr. Meade presented Watteau to the King, who commissioned the artist to paint six pictures, all of which are now in Buckingham Palace. Watteau remained in England but a short time. The climate of the 10 country was anything but beneficial for him. He became more de- pressed than ever and found little or no companionship among the phlegmatic and unsympathetic people whose only interest in him was that they might acquire his paintings and shower money on him. “ It is here,” he said to his friend Gersaint, “ that I began to have a taste for money ” — a taste which grew into a passion with him as he grew older. On his return to Paris Watteau lived with Gersaint, the art dealer, and painted for him the now famous sign for his shop. Ger- saint attests that the sign was painted in the mornings of eight days. Watteau could not work in the afternoons on account of his poor health. He stayed six months with the art dealer and then left him suddenly. He was afraid, he said, he would become a burden on his friend. In 1721 Watteau made preparations for going back to Valen- ciennes in order to see his parents again. He sold his furniture and effects and was all ready to leave Paris. The doctor, however, for- bade him to undertake the journey. It was then that his friend, Canon Haranger, obtained for him a house in the quiet and pretty village of Nogent-sur-Marne, where it was hoped the country air would restore him to some health. Here his countryman, Antoine Pater, came to visit him for the purpose of study, and here he painted his last picture, a scene from Moliere’s “ La Malade Imaginaire,” picturing the obsequies of a sick man. He also worked at a “ Christ on the Cross,” intended for the village’s parish church, but this he left unfinished. His strength continued to fail daily, until on the 1 8th of July, 1721, surrounded by his friends and pupils, he passed away in the arms of his dear friend, Gersaint. His possessions and property were, at his request, divided among his four friends, Haranger, Julienne, Hennin and Gersaint. In spite of Watteau’s peculiar disposition and temperament, he must have been a very lovable man. His was not the nature to make friends quickly, and yet almost all his life friends stood near him and helped him and exhibited the most anxious solicitude for his welfare and happiness. Gersaint says, “ he was a good, but a tiresome friend, a misanthrope.” Julienne describes him as “ a libertine of the spirit, but wise in his conduct.” He loved to be alone, and his sensitive nature, added to a restlessness of disposition, must often have tried his friends greatly. He was always changing his place of resi- dence, as if he could not put up for long with the monotony or the dullness or the ennui or whatever it was that came over him. He seemed never to be at peace with himself. These, probably, are the outward marks of the pulmonary disease which brought him to an early death. In appearance he reflected this spiritual discontent. “ II etait moienne taille,” says Caylus, his biographer, “ it n’avait point du tout de physiognomie, ses yeux n’indiquoient ni son talent, ni la vivacite de son esprit.” A comparison between the head of the young Watteau in the double picture with Julienne and the well- known portrait in Boucher’s engraving, reveals immediately how his nervousness and disease had wasted him. When we sum up the mass of Watteau’s work and realize that it all was accomplished in less than fifteen years, and under the most distressing of circumstances and bodily sickness, we must be not a little astonished. Watteau’s paintings may be divided into four periods, accord- ing to which the reproductions in the present volume have been classified. These periods are : (1) Early works from 1710 to his return to Paris. (2) The period before the painting of “The Embarkation” — 1710-1716. (3) The period of the two versions of “The Embarkation,” and kindred pictures. (4) The works of his later years and style. Watteau entered Gillot’s studio in 1703. For his works previous to that date, as well as for his work with Gillot, we depend on engrav- ings included by Julienne in his edition of Watteau’s Works. Juli- enne’s enthusiasm for Watteau cannot be overestimated. His friend- ship accompanied the artist throughout his life, and his loving ad- miration for him, after his death, is to be seen in the monument of four stout volumes he collected and reproduced for posterity to treas- ure. The first two of these volumes contain one hundred and fifty engravings of drawings by Watteau, and the other two included three hundred and fifty etchings after drawings by Watteau. It is not possible to fix accurately the dates of the composition of these pic- tures, because Watteau often went back for his subjects to earlier times. We can but hope that some of the original paintings may, some day, come to light and help us to clear up this period. There is no doubt about some of the paintings having been made under the influence of Gillot, and among these are “ Les Enfants de Bac- chus ” (engraved by Fossard) ; “ Les Enfants de Sylene ” (engraved by Dupin) ; “ Les Enfants de Monus ” (engraved by J. Moyreau) ; “La Cause Badine” (engraved by J. Moyreau); “ L’Enlevement 12 cTEurope ” (engraved by F. Aveline) ; and “ Fete au Dieux Pan” (engraved by Aubert) . The two theatrical pictures, “ Belle n’ecoutez rien ” and 11 Pour Garder l’Honneur d’une Belle,” evince Gillot’s influence in the theatrical scheme of their composition. Watteau was a Fleming by birth, and his early training in art was Fleming also. But the Watteau whom we all admire and the Watteau who aroused to enthusiastic admiration the people of Paris had nothing of the Fleming in him. The “Varie Gaiete” is, as we have already remarked, the work of the student of Teniers. But the “ Fetes Galantes ” is the work of an artist whose like had never before painted. Gillot undoubtedly influenced Watteau and aroused in him his latent taste for Italian comedy and pretty ornamentation; but the treatment Watteau gave to comedy and his Pierrots was Wat- teau’s own. His backgrounds, the grouping of his figures, the cos- tumes, all are distinguished in their treatment from anything of their kind that had been accomplished in the eighteenth century. A most interesting picture is the “ Promenade sur les Remparts,” since it contains the germ of all the future 11 Fetes Galantes,” and is the direct forerunner of the “ Jardins de St. Cloud.” If we are to be- lieve these pictures are of Flemish influence, then we must trace that influence to Van der Meulen. Watteau adhered to that artist’s style more than to that of any other Flemish painter. Of course “ La Varie Gaiete,” belonging as it does to the period of his residence in Valenciennes, bears all the stamp of his native land. After his return from Valenciennes Watteau showed the result of the various influences which had played upon him during his residence in Paris. His technique is still uncertain and we see in the “ Savoyarde ” and “ La Proposition Embarrassante ” that he had not grown in ability to handle large figures. This same weakness is seen in the first “ L’Embarquement pour Cythere but in the later ones the master shows his accomplished art. In all that Watteau did he showed how deeply he had been affected in his grouping and coloring by Rubens, in his composition and rich painting by the Venetians, and in the distinguished coolness of his silver tones by Van Dyck. It was a fine and a self-assured power that enabled him to assimilate these foreign influences. Watteau became so much French that his paint- ings practically are a record of the new spirit and new life of Paris, which was the outcome of the revolt against the formality and preci- osity of the reign of Louis XIV. The times had been artificialized by the King’s mistresses, who ruled and led the fashions and the man- ners of the day. Watteau entered on this period with a wonderful l 3 sympathy for the rising revolt. The grace and spontaneity, the freedom and charm which his canvases exhale were assured of suc- cess by a people who were only too anxious to be shown a more natural and simple expression of themselves. Watteau did this and was acclaimed a great artist in consequence. At the same time he did it so excellently that his work remains to this day a charm and a delight to a posterity, for whom the days of the early eighteenth century in France are but stories and tales. H ANTOINE WATTEAU ABBREVIATIONS AND EXPLANATIONS H. = Height B. = Width Auf Holz = oii wood Auf LEiNWAND = on canvas Auf Schiefer = on slate The figures giving the sizes of the paintings stand for metres *St. Petersburg, Ermitage Auf Leinwand, H. 0,40, B. 0,32 Das Murmeltier The Marmot „La Marmotte“ Watteau 1 1 Strafiburg, Kunstmuseum Interior of a Kitchen Kiicheninterieur Auf Leinwand, H.0,53, B.0,44 Interieur de Cuisine 2 London, Tennant-Galerie Echte Lustigkeit Auf Leinwand Peasants Merrymaking „La vraie Gaite" 3 4 St. Petersburg, Ermitage Auf Leinwand, H. 0,33, B. 0,45 Das Biwak The Bivouac „Camp volant" St. Petersburg, Ermitagc Das Biwak (Ausschnitt) The Bivouac (Detail) „Camp volant" (Detail) 5 6 Paris, Edmond de Rothschild Auf Kupfer Ruckzug der Nachhut Breaking up the Camp „Recrue allant joindre le Regiment" II. DIE ZEIT VOR DEM EMBARQUEMENT CA. 1710—1716 BEFORE THE EMBARKING OEUVRES ANTERIEURES A L’EMBARQUEMENT ABOUT 1710-1716 ENVIRON 1710—1716 7 9 Die Garten von Saint Cloud Madrid, Prado Die Garten von Saint Cloud (Ausschnitt) The Gardens of St. Cloud „Les Jardins de Saint Cloud" (Detail) (Detail) 10 11 Die Garten von Saint Cloud (Ausschnitt) 12 * Potsdam, Sanssoucl Auf Lelnwand, H. 0,65, B. 0,92 Der Brautzug The Wedding-Procession „La Mariee de Village" 13 Der verwirrende Vorschlag 14 Chantilly, Musfie Conde Auf H olz, H> 0) 31, B< 0 44 Landliche Freuden Rustic pleasures „Les Plaisirs pastorales" Chantilly, Mus6e Cond6 Landliche Freuden (Ausschnitt) „Les PJaisirs pastorales" Rustic Pleasures (Detail) (Detail) 1 5 * Chantilly, Mus6e Cond<§ Auf Holz, H. 0,24, B. 0,17 Die unruhige Liebende The Lover’s Delay „L’Amante inquiete“ Nach einer Aufnahme von Braun & Cie. Nachf., Dornach (Elsafi) 16 Watteau 2 17 Tanz nach dem Dudelsack * Berlin, Kaiser-Friedrlch-Museum Auf Leinwand, H. 0,35, B. 0,30 Das Friihstiick The Picnic „La Collation" 18 19 * London, Soane-Museum Auf Leinwand Dorfhochzeit Village Wedding „L’Accordee de Village" 20 ♦London, Sir Hugh Lane Auf Leinwand, H. 0,457, B. 0,546 Der Kontertanz The Contredance „La Contredanse" * Paris, Louvre Auf Leinwand, H. 0,26, B. 0,19 Der Gleichgultige The Indifferent „L’Indifferent“ Nach einer Aufnahme von Braun & Cie. Nachf., Dornach (Elsafi) 21 * Paris, Louvre The shrewed Girl Die Schlaue Auf Leinwand, H. 0,25, B. 0,19 „La Finette" Nach einer Aufnahme von Braun & Cle. Nachf., Dornach (Elsafl) 22 * Paris, Edmond de Rothschild Auf Leinwand Vollkommener Einklang Perfect Harmony „L’ Accord parfait" 23 * London, Sir Erigard Vincent t>;; * v r . . v.i i A Maskerade Auf Leinwand Masquerade '.lx.. . Une Mascarade („Les Habits sont Italiens") Nach einer Aufnahme von Braun & Cie. Nachf., Dornach (ElsaB) 24 25 * Troyes, Museum Auf Leinwand Die Abenteurerin The Adventuress „L’Aventuriere“ 26 ♦Troyes, Museum * London, Buckingham-Palace The Surprise Die Ueberraschung Auf Leinwand „La Surprise" 27 The Guitar-Player Der Gitarrespieler Le Joueur de Guitare • • Chantilly, Mus<§e Cond6 28 29 Auf Lelnwand, H. 0,445, B. 0,545 30 Die Zerstreuungen des Krieges The Recreations of War „Les Delassements de la Guerre 1 31 St. Petersburg, Ermitage Auf Leinwand, H. 0,22, B. 0,33 Die Strapazen des Krieges The Hardships of War »Les Fatigues de la Guerre" * Althorp, Earl Spencer Auf Leinwand Mannliches Bildnis Portrait of a Man Portrait d’Homme 32 Watteau 3 33 Der Heiratskontrakt Berlin, Kalser-Friedrlch-Museum Auf Leinwand, H. 0,37, B. 0,48 Die Liebe auf der franzosischen Biihne Love in French Comedy „L’ Amour au Theatre fran^ais" 35 * Berlin, Kaiser-Friedrich-Museum Auf Leinwand, H. 0,37, B. 0,48 Die Liebe auf der italienischen Biihne Love in Italian Comedy „L’ Amour au Theatre italien“ London, Alfred de Rothschild The Italian Serenade Die italienische Serenade Auf Lelnwand, H. 0,356, B. 0,266 „La Serenade italienne" 36 *St. Petersburg, Ermitage Auf Leinwand, H. 0,36, B. 0,23 Die Polin A Polish Lady Une Polonaise Mit Erlaubnis der „Staryje Gody“, St. Petersburg 37 III. DIE ZWEI FASSUNGEN DES EMBARQUEMENTS UND VERWANDTE BILDER CA. 1716-1718 THE TWO COMPOSITIONS OF THE EMBARKING AND RELATED PICTURES ABOUT 1716-1718 L’EMBARQUEMENT ET LES CEUVRES DE LA MEME EPOQUE ENVIRON 1716-1718 39 ,-Brm itra-g g - HV-c. nerzo re>L,r/\^^ nttsCvr, - Mesetin ,Mezzetin‘ Auf Leinwand, H. 0,55, B. 0,43 Mezzetin 41 ♦Edinburgh, Nationalgalerle Der Plunderer des Sperlingsnestes The Plunderer of the Sparrow’s Nest Auf Leinwand, H.0,25, B.0,20 Le Denicheur 42 43 Paris, Louvre Auf Leinwand, H. 0,72, B. 1,10 Jupiter und Antiope Jupiter and Antiope Jupiter et Antiope 44 Belustigung im Freien Italian Recreation La Recreation italienne 45 Gesellschaft im Park Party in a Park L’Assemblee dans un Parc Paris, Louvre Gesellschaft im Park (Ausschnitt) Assembly in a Park (Detail) L’Assemblee dans un Parc (Detail) 46 * Edinburgh, Nationalgalerie Auf Leinwand, H. 0,56, B. 0,46 Venezianische Feste Venetian Feasts „Fetes Venitiennes" 47 Edinburgh, Natlonalgalerie Venezianische Feste (Ausschnitt) Venetian Feasts (Detail) „Fetes Venitiennes" (Detail) 48 * Chantilly, Musee Cond6 Cupid disarmed Der entwaffnete Cupido Auf Holz, H. 0,47, B. 0,3S „L’Amour desarme“ Watteau 4 49 * London, Wallace-Kollektion The Toilet Die Toilette Auf Leinwand, H. 0,45, B. 0,38 La Toilette 50 * Paris, Princesse de Poix Auf Leinwand, H. 0,33, B. 0,27 Abendtoilette Evening Toilet La Toilette du Soir 51 52 London, Wallace-Kollektion Auf Leinwand, H. 0,65, B. 0,93 Lebensfreuden The Joys of Life „Les Charmes de la Vie“ London, Wallace-Kollektion Lebensfreuden (Ausschnitt) The Joys of Life (Detail) „Les Charmes de la Vie“ (Detail) 53 London, Wallace-Kollektion Lebensfreuden (Ausschnitt) The Joys of Life (Detail) „Les Charmes de la Vie“ (Detail) 54 55 Potsdam, Sanssoud Auf Leinwand, H. 0,66, B. 0,91 Das Konzert The Concert Le Concert 56 * London, Wallace-Kollektion Auf Lelnwand, H. 0,18, B. 0,23 Die Musikstunde The Music-Lesson La Legon de Musique (.Pour nous prouver que cette belle") 57 Althorp, Earl Spencer Auf Leinwand Harlekin, Pierrot und Scapin Harlequin, Pierrot and Scapin ..Arlequin, Pierrot et Scapin" 58 * Paris, L6on Michel-Lfcvy Auf Leinwand, H. 0,46, B. 0,56 Die verzauberte Insel The enchanted Island „L’Ile enchantee" 59 Narh einer Aufnahme von Braun & Cie. Nachf., Dornach (Elsafl) 60 Die Einschiffung zur Liebesinsel (Ausschnitt) 61 Die Einschiffung zur Liebesinsel (Ausschnitt) * London, Wallace-Kollektlon Auf Leinwand, H. 0,34, B. 0,26 Harlekin und Colombine Harlequin and Colombine Arlequin et Colombine („Voulez-vous triompher des Belles?") 62 * London, Wallace-Kollektion Auf Leinwand, H. 0,267, B. 0,20 Das Familienkonzert Family-concert „Le Concert de Famille” 63 * SchloB Gatschina bei St. Petersburg The Holy Family Heilige Familie Auf Letnwand, H. 1,16, B. 0,97 „La Sainte Familie" Mlt Erlaubnis der ..Staryje Gody“, St. Petersburg 64 * Paris, Louvre Autumn Der Herbst Auf Lelnwand, H. 0,46, B. 0,36 L’Automne Watteau 5 65 66 Auf Leinwand, H. 0,56, B. 0,81 67 Die Liebe auf dem Lande (Ausschnitt) Potsdam, Neues Palais Die Liebe auf dem Lande (Ausschnitt) Rustic Love-Idyll „L’ Amour paisible" (Detail) (Detail) 68 69 Die Einschiffung zur Liebesinsel Berlin, Kgl- SchloB Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) „L’Embarquement pour Cythere" (Detail) 70 Berlin, Kgl. Schlofi Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) „L’Embarquement pour Cythere“ (Detail) 71 Berlin, Kgl. SchloB Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) „L’Embarquement pour Cythere" (Detail) 72 Berlin, Kgl. SchloB Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) .L’Embarquement pour Cythere" (Detail) 73 Berlin, Kgl. SchloB Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) „L’Embarquement pour Cythere" (Detail) 74 Berlin, Kgl. Schlofi Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) „L’Embarquement pour Cythere" (Detail) 75 Berlin, Kgl. Schlofl Die Einschiffung zur Liebesinsel (Ausschnitt) Embarking for Cythera (Detail) „L’Embarquement pour Cythere" (Detail) 76 77 London, Wallace-Kolleklion Auf Lelnwand, H. 0,317, B. 0,42 Die Champs-Elysees The Chamos-Elvsees ..Les Chamos-Elvsees“ London, Wallace-Kollektion Die Champs-Elysees (Ausschnitt) The Champs-Elysees (Detail) „Les Champs-Elysees“ (Detail) 78 79 *London, Dulwich-Galerie Auf Leinwand, H. 0,50, B. 0,615 Ballfreuden Pleasures of the Ball „Les Plaisirs du Bal“ 80 London, Dulwich-Galerle Watteau 6 81 London, Dulwich-Galerie 82 Der Liebesunterricht * Paris, Louvre Auf Leinwand, H. 0,50, B. 0,41 Der Fehltritt The Fall „Le faux Pas“ Nach einer Aufnahme von Braun & Cie. Nachf., Dornach (Elsafi) 83 * St. Petersburg, Graf Stroganoff Pouting Auf Lelnwand Die Grollende „La Boudeuse* 84 85 Potsdam, Neuts Palais Auf Lelnwand, H. 0,56 B. 0,81 Die Hirlen 86 Potsdam, Neues Palais 87 Gesellige Unterhaltung im Freien 88 Gesellige Unterhaltung im Freien (Ausschnitt) 89 erie Auf Lelnwand, H. 0,61, B. 0,75 Das Liebesfest The Feast of Love Plaisirs d’Amour 90 Dresden, Kgl. Gem31degalerie IV. DIE WERKE DES LETZTEN STILES CA. 1719—1721 THE WORKS OF THE LAST STYLE CEUVRES DE LA DERNIERE EPOQUE ABOUT 1719—1721 ENVIRON 1719-1721 91 93 Der Tanz The Dance La Danse („Iris. c’est de bonne heure etc. Potsdam, Neues Palais Der Tanz (Ausschnitt) The Dance (Detail) La Danse (Detail) 94 The Dance (Detail) Der Tanz (Ausschnitt) La Danse (Detail) 95 * Paris, Louvre Gilles Gilles Auf Leinwand, H. 1,84, B. 1,49 Gilles 96 Paris, Louvre Gilles (Ausschnitt) Gilles (Detail) Gilles (Detail) Watteau 7 97 b|0