LaurieAnnie's photos with the keyword: Watteau

Title: Mechanical painting with scene changes Artist: Attributed to Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: 1710 Culture: French Medium: Oil on paper laid on brass Dimensions: 22 13/16 × 26 × 3 3/8 in., 23.4 lb. (58 × 66 × 8.6 cm, 10.6 kg) Classifications: Paper-Paintings, Metalwork-Brass Credit Line: Fondation Edouard et Maurice Sandoz (FEMS), Pully, Switzerland This mechanical marvel bears a dedication to the eldest son of King Louis XIV of France, signed with the name of celebrated French painter Antoine Watteau. It belongs to a tradition of artworks equipped with scenes that changed to surprise viewers. The king collected moving paintings of this type, called tableaux changeants. The masquerade ball composition is pierced with six openings. Mounted behind it are six toothed wheels that can rotate via a clockwork mechanism to reveal different scenes of musicians, dancers, and gamblers. Watteau is known for his depictions of figures in aristocratic dress frolicking in lush imaginary settings of seemingly everlasting festivity, a theme known as the fête galante. Text from: www.metmuseum.org/art/collection/search/765121

Title: Mechanical painting with scene changes Artist: Attributed to Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: 1710 Culture: French Medium: Oil on paper laid on brass Dimensions: 22 13/16 × 26 × 3 3/8 in., 23.4 lb. (58 × 66 × 8.6 cm, 10.6 kg) Classifications: Paper-Paintings, Metalwork-Brass Credit Line: Fondation Edouard et Maurice Sandoz (FEMS), Pully, Switzerland This mechanical marvel bears a dedication to the eldest son of King Louis XIV of France, signed with the name of celebrated French painter Antoine Watteau. It belongs to a tradition of artworks equipped with scenes that changed to surprise viewers. The king collected moving paintings of this type, called tableaux changeants. The masquerade ball composition is pierced with six openings. Mounted behind it are six toothed wheels that can rotate via a clockwork mechanism to reveal different scenes of musicians, dancers, and gamblers. Watteau is known for his depictions of figures in aristocratic dress frolicking in lush imaginary settings of seemingly everlasting festivity, a theme known as the fête galante. Text from: www.metmuseum.org/art/collection/search/765121

Title: Mechanical painting with scene changes Artist: Attributed to Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: 1710 Culture: French Medium: Oil on paper laid on brass Dimensions: 22 13/16 × 26 × 3 3/8 in., 23.4 lb. (58 × 66 × 8.6 cm, 10.6 kg) Classifications: Paper-Paintings, Metalwork-Brass Credit Line: Fondation Edouard et Maurice Sandoz (FEMS), Pully, Switzerland This mechanical marvel bears a dedication to the eldest son of King Louis XIV of France, signed with the name of celebrated French painter Antoine Watteau. It belongs to a tradition of artworks equipped with scenes that changed to surprise viewers. The king collected moving paintings of this type, called tableaux changeants. The masquerade ball composition is pierced with six openings. Mounted behind it are six toothed wheels that can rotate via a clockwork mechanism to reveal different scenes of musicians, dancers, and gamblers. Watteau is known for his depictions of figures in aristocratic dress frolicking in lush imaginary settings of seemingly everlasting festivity, a theme known as the fête galante. Text from: www.metmuseum.org/art/collection/search/765121

The Gazer (Le Lorgneur) (Primary Title) Jean-Antoine Watteau, French, 1684 - 1721 (Artist) Date: ca. 1716 Culture: French Category: Paintings Medium: oil on panel Collection: European Art Dimensions: Unframed: 12 3/4 × 9 7/16 in. (32.39 × 23.97 cm) Framed: 19 3/4 × 16 1/4 in. (50.17 × 41.28 cm) Object Number: 55.22 This type of painting, invented by Watteau, is called a fête galante (courtship party) and usually depicts figures in fancy dress making erotic overtures to one another (here quite literally). The two musicians vie for the attention of a demure woman, their instruments thinly veiling their ultimate intentions. Watteau’s dream world, at once fantasy and deliberately low comedy, was inspired above all by Venetian 16th and Dutch 17th century painting. Text from: www.vmfa.museum/piction/6027262-8053924

The Gazer (Le Lorgneur) (Primary Title) Jean-Antoine Watteau, French, 1684 - 1721 (Artist) Date: ca. 1716 Culture: French Category: Paintings Medium: oil on panel Collection: European Art Dimensions: Unframed: 12 3/4 × 9 7/16 in. (32.39 × 23.97 cm) Framed: 19 3/4 × 16 1/4 in. (50.17 × 41.28 cm) Object Number: 55.22 This type of painting, invented by Watteau, is called a fête galante (courtship party) and usually depicts figures in fancy dress making erotic overtures to one another (here quite literally). The two musicians vie for the attention of a demure woman, their instruments thinly veiling their ultimate intentions. Watteau’s dream world, at once fantasy and deliberately low comedy, was inspired above all by Venetian 16th and Dutch 17th century painting. Text from: www.vmfa.museum/piction/6027262-8053924

The Gazer (Le Lorgneur) (Primary Title) Jean-Antoine Watteau, French, 1684 - 1721 (Artist) Date: ca. 1716 Culture: French Category: Paintings Medium: oil on panel Collection: European Art Dimensions: Unframed: 12 3/4 × 9 7/16 in. (32.39 × 23.97 cm) Framed: 19 3/4 × 16 1/4 in. (50.17 × 41.28 cm) Object Number: 55.22 This type of painting, invented by Watteau, is called a fête galante (courtship party) and usually depicts figures in fancy dress making erotic overtures to one another (here quite literally). The two musicians vie for the attention of a demure woman, their instruments thinly veiling their ultimate intentions. Watteau’s dream world, at once fantasy and deliberately low comedy, was inspired above all by Venetian 16th and Dutch 17th century painting. Text from: www.vmfa.museum/piction/6027262-8053924

The Gazer (Le Lorgneur) (Primary Title) Jean-Antoine Watteau, French, 1684 - 1721 (Artist) Date: ca. 1716 Culture: French Category: Paintings Medium: oil on panel Collection: European Art Dimensions: Unframed: 12 3/4 × 9 7/16 in. (32.39 × 23.97 cm) Framed: 19 3/4 × 16 1/4 in. (50.17 × 41.28 cm) Object Number: 55.22 This type of painting, invented by Watteau, is called a fête galante (courtship party) and usually depicts figures in fancy dress making erotic overtures to one another (here quite literally). The two musicians vie for the attention of a demure woman, their instruments thinly veiling their ultimate intentions. Watteau’s dream world, at once fantasy and deliberately low comedy, was inspired above all by Venetian 16th and Dutch 17th century painting. Text from: www.vmfa.museum/piction/6027262-8053924

Mezzetin Artist: Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: ca. 1718–20 Medium: Oil on canvas Dimensions: 21 3/4 x 17 in. (55.2 x 43.2 cm) Classification: Paintings Credit Line: Munsey Fund, 1934 Accession Number: 34.138 Mezzetin, a stock comic character of the Italian commedia dell'arte, became an established performer on the Paris stage. Various players were engraved in his costume, which by about 1680 comprised a striped jacket and knee-britches, a floppy hat, a ruff, and a short cape. Mezzetin was by turns interfering, devious, and lovelorn, but not languorous. His head and his large, angular hands are extraordinarily expressive. Text from: www.metmuseum.org/art/collection/search/437926

Mezzetin Artist: Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: ca. 1718–20 Medium: Oil on canvas Dimensions: 21 3/4 x 17 in. (55.2 x 43.2 cm) Classification: Paintings Credit Line: Munsey Fund, 1934 Accession Number: 34.138 Mezzetin, a stock comic character of the Italian commedia dell'arte, became an established performer on the Paris stage. Various players were engraved in his costume, which by about 1680 comprised a striped jacket and knee-britches, a floppy hat, a ruff, and a short cape. Mezzetin was by turns interfering, devious, and lovelorn, but not languorous. His head and his large, angular hands are extraordinarily expressive. Text from: www.metmuseum.org/art/collection/search/437926

Mezzetin Artist: Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: ca. 1718–20 Medium: Oil on canvas Dimensions: 21 3/4 x 17 in. (55.2 x 43.2 cm) Classification: Paintings Credit Line: Munsey Fund, 1934 Accession Number: 34.138 Mezzetin, a stock comic character of the Italian commedia dell'arte, became an established performer on the Paris stage. Various players were engraved in his costume, which by about 1680 comprised a striped jacket and knee-britches, a floppy hat, a ruff, and a short cape. Mezzetin was by turns interfering, devious, and lovelorn, but not languorous. His head and his large, angular hands are extraordinarily expressive. Text from: www.metmuseum.org/art/collection/search/437926

Mezzetin, probably 1718–20 Jean Antoine Watteau (French, 1684–1721) Oil on canvas; 21 3/4 x 17 in. (55.2 x 43.2 cm) Munsey Fund, 1934 (34.138) Mezzetin, whose name means "half-measure," was one of the stock characters of Italian commedia dell'arte. He could be a deceived or a deceiving husband, and could serve his master with devotion or take bribes and betray him. This representation of Mezzetin in his moment of ardor has the effect of a moving performance on the stage. The statue of a female figure with its back turned may imply the reaction of Mezzetin's unseen listener. The painting, usually dated 1718–20, belonged to Watteau's friend Jean de Jullienne. The artist's treatment of the silk costume and the garden background influenced Thomas Gainsborough (1727–1788), who knew paintings by Watteau in British collections. Text from: www.metmuseum.org/toah/hd/watt/ho_34.138.htm

Mezzetin Artist: Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne) Date: ca. 1718–20 Medium: Oil on canvas Dimensions: 21 3/4 x 17 in. (55.2 x 43.2 cm) Classification: Paintings Credit Line: Munsey Fund, 1934 Accession Number: 34.138 Mezzetin, a stock comic character of the Italian commedia dell'arte, became an established performer on the Paris stage. Various players were engraved in his costume, which by about 1680 comprised a striped jacket and knee-britches, a floppy hat, a ruff, and a short cape. Mezzetin was by turns interfering, devious, and lovelorn, but not languorous. His head and his large, angular hands are extraordinarily expressive. Text from: www.metmuseum.org/art/collection/search/437926

La Perspective (View through the Trees in the Park of Pierre Crozat) about 1715 Antoine Watteau, French, 1684–1721 Dimensions: 46.7 x 55.3 cm (18 3/8 x 21 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior Accession Number: 23.573 Watteau developed and made famous a type of painting of the elegant party, called the fête galante, in which ladies and gentlemen converse, flirt, and make music in idyllic outdoor settings. This is his only fête galante with an identifiable setting: in the distance, Watteau shows the Château de Montmorency near Paris, home of his friend and patron, the art collector and financier Pierre Crozat. The artist freely transformed the site, creating a dreamlike fantasy world evocative of the theater with its backdrop of towering trees and graceful groupings of figures in old-fashioned dress. Text from: www.mfa.org/collections/object/la-perspective-view-throug...

La Perspective (View through the Trees in the Park of Pierre Crozat) about 1715 Antoine Watteau, French, 1684–1721 Dimensions: 46.7 x 55.3 cm (18 3/8 x 21 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior Accession Number: 23.573 Watteau developed and made famous a type of painting of the elegant party, called the fête galante, in which ladies and gentlemen converse, flirt, and make music in idyllic outdoor settings. This is his only fête galante with an identifiable setting: in the distance, Watteau shows the Château de Montmorency near Paris, home of his friend and patron, the art collector and financier Pierre Crozat. The artist freely transformed the site, creating a dreamlike fantasy world evocative of the theater with its backdrop of towering trees and graceful groupings of figures in old-fashioned dress. Text from: www.mfa.org/collections/object/la-perspective-view-throug...