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Jean-Antoine Watteau (UK: / ˈ w ɒ t oʊ /, US: / w ɒ ˈ t oʊ /, [2] [3] French: [ʒɑ̃ ɑ̃twan vato]; baptised 10 October 1684 – died 18 July 1721) [4] was a French painter and draughtsman whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens.
Antoine Watteau, Embarkation for Cythera, 1717 Fête galante (French pronunciation: [fɛːt ɡalɑ̃t]) (courtship party) is a category of painting specially created by the French Academy in 1717 to describe Antoine Watteau's (1684–1721) variations on the theme of the fête champêtre, which featured figures in ball dress or masquerade costumes disporting themselves amorously in parkland ...
The Embarkation for Cythera ("L'embarquement pour Cythère") is a painting by the French painter Jean-Antoine Watteau. It is also known as Voyage to Cythera and Pilgrimage to the Isle of Cythera. [1] Watteau submitted this work to the Royal Academy of Painting and Sculpture as his reception piece in 1717. [2] The painting is now in the Louvre ...
"The Shop Sign of Gersaint") is an oil on canvas painting in the Charlottenburg Palace in Berlin, by French painter Jean-Antoine Watteau. Completed during 1720–21, [1] it is considered to be the last prominent work of Watteau, who died some time after.
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Mezzetino (transl. Mezzetin; French: Mézetin) is an oil-on-canvas painting in the Metropolitan Museum of Art, New York, by the French Rococo painter Jean-Antoine Watteau. Dated within 1717–1720, Mezzetino forms a full-length single-figure composition, depicting the eponymous character in commedia dell'arte.
The Embarrassing Proposal is a 1715-1716 painting by Antoine Watteau. It was part of Heinrich von Brühl's collection in Dresden before being purchased in 1769 under Catherine II of Russia for the Hermitage Museum, in Saint Petersburg, where it still hangs. It shows a landscape with three young women and two young gallants.
In the 18th century, The Robber of the Sparrow's Nest was once in the collection of Watteau's friend and patron Jean de Jullienne; passing through a number of private owners, it came into possession of the Scottish landscape painter Hugh William Williams by the early 19th century; in 1860, the latter's widow donated the painting to the National ...