Painting then passed to the observation of reality and, finally, to social protest. Watteau was invited to submit to the Academie de Peinture in thanks to the talent he displayed throughout the series of elimination rounds.
He was the overseer of the Luxembourg Palace in Paris, and Watteau spent a lot of his time there. Its purpose is to educate people about the different movements and show people that there are other movements worth looking at, and specific artists that users may never have heard of.
The strongest influence on his work was exercised not by solemn tragedy but by the most ephemeral theatrical forms. As a boy he was sensitive and susceptible to quick changes of mood, a voracious reader of novels, and an avid music lover.
After Luxembourg, Watteau went back to Paris inhis hopes pinned on winning the Prix de Rome and proceeding to Italy to study art more seriously. Thus by the age of 18, Cheret was able to scrape a basic living selling designs and drawings to music publishers and other customers, but he wanted more.
Many times it is because the artists in question refused to give copyright permission or was unavailable to give it to those involved, and thus was inadvertantly censored.
They just name the file in whatever way is easiest, and thus important information that should accompany the piece is sometimes lost.
Eventually the esteem Watteau enjoyed in the circle of art lovers, poets, and novelists extended to the broad public. Rubens's influence can also be seen in Watteau's work.
Gillot saw potential in the young Watteau and offered him an apprentice position at his studio. It was a masterstroke. Watteau assisted Audran, who was the most famous decorator in Paris, but he also looked to other worlds.
Watteau, who had interpreted the deepest aspirations of his own time, was found pleasing by few later in the 18th century as the Age of Reason developed.
The strongest influence on his work was exercised not by solemn tragedy but by the most ephemeral theatrical forms.
At about this time he also painted a series of romantic fantasies on theatrical subjects. In Embarkation for Cythera, Watteau painted Cythera, the Greek isle of love, with characters of the Italian comedy, enjoying the beautiful scenery they were graciously painted in. These huge works, vibrant with life and pleasure, exerted a deep influence upon him.
His adoration of the present and its refined modernity, and fashion bordered on frivolousness. 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.
Inalready seriously ill with tuberculosis, Watteau went to England to consult Queen Anne's physician who became his patron and friend. Watteau died two years later in the country-side near Paris.
He was not a portrait painter, however. He showed a penchant for making life studies of mountebanks performing on the public square, and his parents placed him in the workshop of a local painter. His subjects do not seem to have names: It is Public Domain and we can use it freely.
He was invited by the financier Crovat to live and work in his home filled with Venetian and Flemish paintings and drawings and soon developed a new type of subject: However, London's damp and smoky air offset any benefits of Dr.
Men—cavaliers or clowns—are there to please the women who glide by, enfolded in their splendid silken raiments. Here, he was able to study Peter Paul Rubens's famous painting series on the life of Queen Maria de Medici in entirety. By now Watteau was worn down by tuberculosisand he died at the age of Audran was the curator of the Palais du Luxembourgwhere Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici.
Drawing on the influence of both Gillot and Audran, Watteau developed his own unique style through executing theatrical themes using an airy technique. Watteau introduced members of the Sirois family into his paintings. An attempt was thus made to ennoble the genres previously considered inferior farce, improvised comedy, the noveland bold transpositions from one form of art to the other were ventured, as in the fusion of poetrymusic, painting, and dance into the new genre of opera.
These romantic and idealized scenes depict elaborately costumed ladies and gentlemen at play in fanciful outdoor settings. Jean-Antoine Watteau () Jean-Antoine Watteau was the most representative painter of the French Rococo* style, an artist beside whom the painterly talents of his contemporaries (like the Venetian Giambattista Tiepolo, and the Frenchmen Francois Boucher and Jean-Honore Fragonard) are measured.
Jean-Antoine Watteau is attributed to extending the bounds of the 18th century French-born Rococo at period beyond architecture, furniture and sculpture and into painting. Early life and training. Watteau was born in October in the town of Valenciennes which had recently passed from the Spanish Netherlands to France.
His father, Jean-Philippe Watteau, was a roofer given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, a local painter.
Antoine Watteau. French Rococo Painter. Influences - Rembrandt, Rubens, Piero della Francesca, Historian Richard Muther describes Watteau's rather tragic life and brilliant work, "In Paris, as the associate of Audran, he lived in the center of the elegant world.
Jean Antoine Watteau. Antoine Watteau, in full Jean-Antoine Watteau (born Oct. 10,Valenciennes, France—died July 18,Nogent-sur-Marne), French painter who typified the lyrically charming and graceful style of the Rococo.
Much of his work reflects the influence of the commedia dell’arte and the opéra ballet (e.g., “The French Comedy,” ). Jean-Antoine 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.A biography and life work of jean antoine watteau a french rococo artist