A Comparison of Rococo Masters - Coursework Example

Your Name (First and Last) Professor Andrew Schulz Art History 4/510 November 14, 2006 A Comparison of Rococo Masters Jean Antoine Watteau (1684-1721) is one of France’s best known, and most influential, pre-revolution artists (Jordan, Watteau). His exact birth date is unknown, but he was baptized on October 10, 1684, in Valenciennes (Grove Art, Watteau). It is believed that Watteau moved to Paris in 1702, where he soon became an apprentice and pupil to Claude Guillot, a well-known theatrical painter (Grove Art, Watteau). During this period, his work was heavily influenced by Rubens’ paintings (Jordan, Watteau). In 1709, the young Watteau entered the prestigious Prix de Rome competition (Jordan, Watteau). His work earned him second prize, but this was not good enough for him (Jordan, Watteau). Disillusioned, Watteau returned to his hometown (Jordan, Watteau). Interestingly, it was this failure that ultimately led to his success. It was at this point in time that Watteau began to cultivate the observational and artistic skills that would later spawn his fête galante art style (Jordan, Watteau). A few years later, Watteau returned to Paris, and his career, and the art style he invented, really starting to take off (Jordan, Watteau). His invented art style, fête galante, also known as fête champêtre, has become synonymous with the 18th century rococo style (Langdon, 1). This romantic style of painting often represents lovers in pastoral settings, which was in direct opposition to the classicism of French art at the time, and was derivative of Venetian and Flemish art (Langdon, 1). Among Watteau’s earliest fête galante paintings are The Village Bride and Pilgrimage to Cythera (Fig. 1 and 2). Figure 1. The Village Bride, Watteau Figure 2. Pilgrimage to Cythera, Watteau They were probably both painted around the year 1717. Pilgrimage to Cythera was the first painting of this style to be recognized by the Académie Royale de Peinture (Langdon, 1). In fact, the academy had to create a whole new category just to accept it; thus, it set the bar for all subsequent fête galante artists (Jordan, Watteau). It is characteristic of Watteau’s style that his work should be difficult to categorize. His fluid painting style and unique technique were dramatic departures from the preferred artistic styles of his day (Jordan, Watteau). Similarly, his subject matter was distinctly different from that of his contemporaries, who dealt with, mainly, “Antiquity, the Bible, the allegory of earlier treatments of the garden of love theme” (Jordan, Watteau). As beautiful as they are, his paintings defy interpretation. His last known painting, L'Enseigne de Gersaint (Fig. 3), deals with none of the common themes of his other work (Jordan, Watteau). It is merely a painting of his friend’s art shop. Or perhaps it’s not so strange, when you consider that “in the course of the eighteenth century dealers became the essential middlemen in a rapidly expanding art market” (McClellan, 439). Watteau may have just been trying to facilitate a good working relationship so he could make more money. Figure 3. L'Enseigne de Gersaint, Watteau Just because Watteau’s artwork is difficult to interpret, this doesn’t mean that people haven’t tried. Cowart suggests that Watteau’s Pilgrimage displays evidence that he is “politically subversive” (463). In this view, Watteau’s fête galante style is linked to the “an upper-class elite seeking to distance itself from the crown through an identification with anti-absolutist forms of leisure, pleasure, and public entertainment” (Cowart 463). The choice of Cythera as a subject matter is itself seen as subversive because it is seen as a symbol of “the tragic fragility of art in a world of human insensitivity” (Cowart 468). The choice of Cythera may well have been a political statement, but it might not have. After all, art is about beauty, and so was Cythera. It may have, then, been a natural subject for an artist to pick. Whatever Watteau’s motives were behind choosing the subject matter, the fact that he did will always be intriguing – and somewhat controversial, in climates where pleasure and excess are seen as a threat to society. There was another French painter living before the Revolution who has also been accused of putting hidden political messages inside his artwork. François Boucher (1703-1770) was a younger contemporary of Watteau. He was born in Paris, and worked as an apprentice to the engraver Cars (Jordan, Boucher). His early artistic life was spent engraving the works of Watteau, so it is natural that Watteau’s work would influence Boucher’s style. Even so, Boucher’s own talent and abilities earned him the title of “the quintessential painter of 18th-century France” (Jordan, Boucher). In 1723, while his art was still under the influence of Watteau and Rubens, the young Boucher achieved the honor of winning the Académie Royale's Grand Prix (Jordan, Boucher). Four years later, Boucher went to Rome and discovered the Baroque painters Albani, Cortona, and Giordano, whose decorative styles he started employing in his own work (Jordan, Boucher). He returned to Paris in 1731, and three years later, his painting Rinaldo and Armida (Fig. 4) gained him entrance into the Académie Royale de Peinture (Jordan, Boucher). Figure 4. Rinaldo and Armida, Boucher A few years later, Boucher developed his own style, which was a combination of the influences of Watteau, Rubens, the Baroque masters, and his own individual talent (Jordan, Boucher). Both artists obviously enjoyed using mythological themes and scenes from everyday life and people in their work. Additionally, the fête galante emphases on pastoral settings and leisure activities are prevalent in Boucher’s work, as well as in the work of the style’s originator. Watteau painted Cythera and other mythological subjects. Boucher’s most famous works include The Bath of Diana and Toilette de Venus (Fig. 5). Figure 5. Toilette de Venus, Boucher As mentioned before, Watteau painted a scene from his friend’s art shop, and he also painted a figure from his early days working with Gilles, the theatrical painter, which is now simply known as Gilles (Fig. 6). Figure 6. Gilles, commedia del’arte player, Watteau Among Boucher’s most famous, and most artistic, paintings are his portraits of his patron, Madam Pompadour and the charmingly mundane The Breakfast (Fig. 7 and 8). Figure 7. Madame Pompadour, Boucher Figure 8. The Breakfast, Boucher It is the former of these which spurs examinations into the political ideologies of Boucher’s work. Specifically, Melissa Hyde discusses in her article how Boucher’s painting of Madam Pompadour at her toilette is not just an homage to his wealthy patron. She argues that it “has deeper cultural meanings that are inflected by converging discourses of art making, ‘femininity,’ artifice, and social class” (Hyde, 453). The idea here is that Boucher, as well as Pompadour was “putting on” the type of role that was expected of him. But this seems an arbitrary (and easy) statement to make. We all play roles to one extent or another – sometimes intentionally; sometimes not. Whether Boucher was putting on a show for his patron, or whether he really did capture her in the most accurate way possible is irrelevant. It does not take away from the skill with which he painted her – artificially or not. In addition to using the same subject matter, Watteau and Boucher also employed a similar drawing technique, called trois crayons (Grove Art, Boucher). In this technique sketches are made with three different colors of chalk – red, white, and black (Grove Art, Boucher). This method of drawing adds more life to the sketches and allows for emotion and depth to come through (Grove, Watteau). Boucher copies Watteau’s technique, which he possibly studied while working on the engravings, and added a few of his own touches (Grove Art, Boucher). Boucher’s style is said to be “more cheerful and robust” than Watteau’s (Jordan). Even in Watteau’s pastoral scenes, like Pilgrimage to Cythera, there is an element of darkness. Indeed, Watteau painted a brighter version of the same scene a few years after the first (Cowart, 461). Whether he did this because of popular preference or his own is unclear. Boucher’s paintings seem to be captured in full light, while Watteau’s scenes give the sense of occurring at half darkness. Boucher’s colors are brighter. They almost seem to jump out from the canvas. Watteau’s color usage is more subdued. The viewer of Watteau’s art is drawn into the action in the painting more because he or she has to be in order to get a better look at what is going on. Boucher’s work gives the viewer the idea that really all is needed is a passing glance. You feel like you have seen it all because of the colors screaming out from the canvas. In fact, the bright colors do make it more difficult to see anything else in the picture. This difference in light and color and usage and some slight differences in subject matter are really the main differences that exist in the works of these two men. Boucher used Watteau’s works as study tools, and it shows. However, this does not take away the fact that Watteau was very talented in his own right. As a matter of fact, Boucher won more awards and critical acclaim for his work than Watteau did, although this may be more because Watteau was the ground-breaker. The artisitic community didn’t know how to respond to the new style of painting until Watteau came along and paved the way. This probably set the stage for Boucher’s acceptance. It also helped to solidify the achievements and enduring fame of both artists. Works Cited Cowart, Georgia. “Watteau’s 'Pilgrimage to Cythera' and the Subversive Utopia of the Opera-Ballet.” Art Bulletin 83.3 (2001): 461-478. "François Boucher." Grove Art Online. Oxford University Press, [November 7, 2006], http://www.groveart.com Hyde, Melissa. “The ‘Makeup’ of the Marquise: Boucher’s Portrait of Pompadour at Her Toilette.” Art Bulletin 82.3 (2000): 453-475. "(Jean-)Antoine Watteau." Grove Art Online. Oxford University Press, [November 7, 2006], http://www.groveart.com Jordan, Marc. “François Boucher." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. Oxford University Press, 2005. [November 14, 2006], http://www.groveart.com/ Jordan, Marc. "Jean-Antoine Watteau." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. Oxford University Press, 2005. [November 14, 2006], http://www.groveart.com/ Langdon, Helen. "Fête champêtre [fête galante].” The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. Oxford University Press, 2005. [November 14, 2006], http://www.groveart.com/ McClellan, Andrew. “Watteau's Dealer: Gersaint and the Marketing of Art in Eighteenth-Century Paris.” Art Bulletin 78.3 (1996): 439-453. Read More

Figure 3. L'Enseigne de Gersaint, Watteau Just because Watteau’s artwork is difficult to interpret, this doesn’t mean that people haven’t tried. Cowart suggests that Watteau’s Pilgrimage displays evidence that he is “politically subversive” (463). In this view, Watteau’s fête galante style is linked to the “an upper-class elite seeking to distance itself from the crown through an identification with anti-absolutist forms of leisure, pleasure, and public entertainment” (Cowart 463).

The choice of Cythera as a subject matter is itself seen as subversive because it is seen as a symbol of “the tragic fragility of art in a world of human insensitivity” (Cowart 468). The choice of Cythera may well have been a political statement, but it might not have. After all, art is about beauty, and so was Cythera. It may have, then, been a natural subject for an artist to pick. Whatever Watteau’s motives were behind choosing the subject matter, the fact that he did will always be intriguing – and somewhat controversial, in climates where pleasure and excess are seen as a threat to society.

There was another French painter living before the Revolution who has also been accused of putting hidden political messages inside his artwork. François Boucher (1703-1770) was a younger contemporary of Watteau. He was born in Paris, and worked as an apprentice to the engraver Cars (Jordan, Boucher). His early artistic life was spent engraving the works of Watteau, so it is natural that Watteau’s work would influence Boucher’s style. Even so, Boucher’s own talent and abilities earned him the title of “the quintessential painter of 18th-century France” (Jordan, Boucher).

In 1723, while his art was still under the influence of Watteau and Rubens, the young Boucher achieved the honor of winning the Académie Royale's Grand Prix (Jordan, Boucher). Four years later, Boucher went to Rome and discovered the Baroque painters Albani, Cortona, and Giordano, whose decorative styles he started employing in his own work (Jordan, Boucher). He returned to Paris in 1731, and three years later, his painting Rinaldo and Armida (Fig. 4) gained him entrance into the Académie Royale de Peinture (Jordan, Boucher).

Figure 4. Rinaldo and Armida, Boucher A few years later, Boucher developed his own style, which was a combination of the influences of Watteau, Rubens, the Baroque masters, and his own individual talent (Jordan, Boucher). Both artists obviously enjoyed using mythological themes and scenes from everyday life and people in their work. Additionally, the fête galante emphases on pastoral settings and leisure activities are prevalent in Boucher’s work, as well as in the work of the style’s originator.

Watteau painted Cythera and other mythological subjects. Boucher’s most famous works include The Bath of Diana and Toilette de Venus (Fig. 5). Figure 5. Toilette de Venus, Boucher As mentioned before, Watteau painted a scene from his friend’s art shop, and he also painted a figure from his early days working with Gilles, the theatrical painter, which is now simply known as Gilles (Fig. 6). Figure 6. Gilles, commedia del’arte player, Watteau Among Boucher’s most famous, and most artistic, paintings are his portraits of his patron, Madam Pompadour and the charmingly mundane The Breakfast (Fig. 7 and 8). Figure 7.

Madame Pompadour, Boucher Figure 8. The Breakfast, Boucher It is the former of these which spurs examinations into the political ideologies of Boucher’s work. Specifically, Melissa Hyde discusses in her article how Boucher’s painting of Madam Pompadour at her toilette is not just an homage to his wealthy patron. She argues that it “has deeper cultural meanings that are inflected by converging discourses of art making, ‘femininity,’ artifice, and social class” (Hyde, 453). The idea here is that Boucher, as well as Pompadour was “putting on” the type of role that was expected of him.

But this seems an arbitrary (and easy) statement to make.

Read More