Rococo Epoch: Jean Antoine Watteau (Jean Antoine Watteau) - Master of Galant Scenic. Antoine Watto - Biography and paintings by the artist in the genre Rococo - Art Challenge

Watto Antoine - biography, facts from life, photos, reference information.

Watto Antoine (Jean Antoine Watto, Watteau) (October 10, 1684, Valencienne - July 18, 1721, Shana-sur-Marne), French painter and draftsman. In household and theatrical scenes - the gallant festivals marked by the exquisite tenderness of colorful nuances, the trepacy of the picture, recreated the world of the finest mental states.

Antoine Watto was born in the Flemish city of Valencienne, soon he was departed to France, in eighteen years later came to Paris, without money, without work, without patrons. He worked in the picturesque workshop of the famous Marshan Marietta on the notre lady bridge; Around 1704-1705 became a student of the famous decorator artist Claude Hillo, who also wrote the scenes from the life of the actors. From 1707-08 he has been working in CLOD evian, a woodcarpeter. Thanks to the evident who performed the duties of the keeper of the picturesque collection of the Luxembourg Palace, Watto met the series of Rubens. Dedicated to the history of Mary Medici, works of Flemish and Dutch masters who had a strong impact on the technique and coloring his work.

Early paintings

Early small genre paintings - depicting a funny street scene ("Satira on doctors", OK. 1708, Moscow, Museum of Fine Arts. A. S. Pushkin), Stretching Sharmancan with Surcom (Savoyar, 1716, St. Petersburg, Hermitage), episodes from soldier's life ("Bivuac", Ok. 1710, Museum of Fine Arts. A. S. Pushkin; "Recruits, catching up regiment", OK. 1709, NANT, Museum of Fine Arts; "Military Reta", OK . 1716, Hermitage) - detect the sharpness and originality of the perception of the world, the artist, undoubtedly, is looking for values \u200b\u200bnot in the pretentious art of the era of Louis XIV. And addresses the art of the 17th century - the peasant genres Louis Lenin, Callo graphics, Flemish masters.

In the period 1712-19. Watto fascinates writing scenes from theatrical life. In the canvases "Actors of the French Theater" (approx. 1712, Hermitage), "Love on the Italian scene" (Berlin, Artistic Museums), "Harlequin and Kolombin" (OK 1715, London, Gallery Wallace), "Italian Comedians" (1716 -19, Washington, National Gallery) He used the sketches of the victims of the poses, gestures, the Mimici of the actors who did in the theater, which became a shelter of living feelings. Polon High Poetry Sadness and Good Image of Naive Space, Hero of the Fair Third Gown Theater in Pierrot Suit in the Lodin Room (Paris, Louvre).

The finest nuances of human experiences - irony, sadness, anxiety, melancholy - open in his small pictures with a picture of one or more figures in the landscape ("Lukusnitsa", 1715, Louvre; "Caprician", Ok. 1718, Hermitage; Metzsenet, 1717 -19, New York, Metropolitan Museum). The heroes of these scenes are offended and shy, awkwards, mumble, lukava and coquettes, often sad. An ironic alienation, which always sings in the pictures of Watto gives them a shade of an irreal, fantastic and slipping mirage. The elegance and virtuoso ease of writing, the overflow gamma of carminous, green, lilac flowers, the variety of tonal shades is invas with a poetic game that these images are embodied. Watto characters are far from reality, as if playing by the pantomime, they depict serene life In a completely special world on the verge of the theater and reality, the world created by the imagination of the artist.

Pilgrimage to the island of Cefera

So-called Galant Scenes Watto - "Joy of Life" (Ok. 1715, London, Gallery Wallace), "Venetian holiday" (Edinburgh, National Gallery of Scotland) depict the world of dreams with a shade of sadness. For the "Pilgrimage to the island of Ceferu" Watto was admitted to the members of the French Academy (1717-18, Louvre, Paris; Late version - Charlottenburg, Berlin). This picturesque elegion of Watto is not built on collisions, action (unclear even, sailing or return is shown on the canvas), but only for barely feeled shades of mood, a common poetic and emotional atmosphere. The composition of "pilgrimage" is deprived of stability - the heroes of the groups are rushed deep into the paintings, they diverge in pairs, then suddenly turn to the viewer with gestures or eyes. Characters seem to be subordinate to the "visible" music - waves ride and falling lines, uniting all the procession, almost dance moves Couples, pauses, alternations of color spots create a feeling of hearing melody.

The iconography of "gallant festivals" ("FETES GALANTS") goes back to the "Gardens of Love", known from the era of the Middle Ages. However, in contrast to parking idylls, Rococo "Gardens of love" Watto personifies not just a holiday of beautiful nature, in colorfully sophisticated canvases, if the poetry of feelings and thinking about human life on Earth is painted into the penetration of sad lyrical intonations. In 1719-20, a seriously ill painter visited England (possibly, hoping for the Tips for English doctors), where he enjoyed great success; Subsequently, the art of Watto had a significant impact on the English painting of the middle - the second half of the 18th century.

Upon returning to Paris for a shop "Great Monarch" belonging to Zherenu, who, who exhausted Watto asked the shelter, he wrote one of his most famous works and the only one he was pleased, "Sign of Lawn Zersen" (1720, Berlin, Art Museums ). According to Horsen himself, "she was written in a week, and then the artist worked only in the morning; Fragile health did not allow him to work longer. " Household scene With the image of the interior of the shop (in the style of "antique shops" D. Tenirs) is full of metaphor - reflections about his time: the cuzzers are packaged in the drawer, the portrait of the king Louis XIV - arise associations and with the name of the shop, and with the oblivion of the past century. The last days Watto spent in the nuzhnaya not far from Paris, where he was transported by the theater costumes, props for future paintings, and where he wrote the image of Christ for the local church. In the manner of Watto, never climbing, however, before the height of his teacher, the French artists of Pater and Lanya worked.

October 10, 1684 (1684-10-10) July 18, 1721 (1721-07-18) (36 years) Франция!} Wikipedia Watto, Antoine Views 1

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Jean Antoine Watto

Jean Antoine Watto "

The famous gangra brothers wrote about the artist in 1856: "Watto - great poet The eighteenth century. Masterpieces of dreams and poetry created by his mind, to the edges filled with an extraordinary life grace ... Watto seems to revive the beauty again. However, this is not the beauty of antiquity, which is improved by marble galatia or the material embodiment of seductive vesa, and not the medieval charm of rigor and hardness. In the pictures of Watto, beauty is Beauty: This is what envelops a woman cloud of attractiveness, its charm, the very essence of physical beauty. This is something barely catchy that it seems a smile of features, soul forms, spiritual face of matter. "

Jean Antoine Watto was born on October 10, 1684 in the small Severofranzus town of Valencienne. His father Jean Philip Watto was a roofer and a carpenter. The first lessons of the pictorial craft boy received from the local elderly painter Gerun. However, the study lasted for a long time: the soul father did not want to pay six Turke Livra per year for studying.

About 1700, Antoine left native city In Paris, accompanying theatrical artist Metheye. He hires a picturesque workshop on the Notre Dame Bridge, the owner of which organized a mass production and profitable sales of cheap religious pictures. For stupid and exhaust work, Watto received a void fee and "soup disapperary daily".

Antoine was lucky to meet with Jean Mariett, trader of paintings and an expert on painting. In the house of Mariett, he met his first real teacher - Claude Hillo. He has a young artist learned to love the theater, who subsequently devoted most of his work.

The first independent picture of Watto is written in Moliere's motifs - this is a "satyr on doctors." It has a second very characteristic name, which reveals its content: "What did I do to you, damned killers?"

In 1708, Watto leaves the housing and comes to the assistant to the decorator artist Claude evian. Together with the teacher, Antoine works a lot on ornamental paintings, acquiring the ease and accuracy of the drawing in the future. At the same time, he continues to copy and explore the works of old masters.

Dreaming to get to Rome, Watto enters the Academy of Arts. But at the competition at the Academy, he received only a second prize, and in 1709 he returned to Valencienne, where he took the pupils of Jean-Batista Patera.

Watto returns to Paris in 1710 already as a major, creative mature master. The main topic, which he at this time devotes his works is the military.

"In his very small, emphasized chamber pictures we see the transition of troops in bad weather, a brief rest of the soldiers, again the transition in the rain and wind, the tired crowd of recruits, - writes I.S.

Jean Antoine Watto "

Nemylo. - "war" and "military distribution" are among best pictures This series. In the first of them, it is possible to evaluate the artist's skill in the transfer of the state of nature, a sudden vortex, chasing the shreds of clouds, flexing trees and inflating riders. Small figures of people seem to be able to confront bad weather. Anxiety permeates the whole picture. The second scene draws a mood diametrically opposite: people exhausted by military life enjoy the rest, some blissfully stretched under the trees, others snatch in a tent of the MARKATECA. Soft summer day lighting emphasizes calm situation. "

Military scenes put forward Watto in the number of artists who are successful. Participants in Flemish trips were specially demanding paintings.

Upon arrival from Valencienne, Watto settled at the merchant Ramami and Pierre Pierre Sirua, through him he met Pierre Croze, the royal treasurer, a millionaire and a subtle connoisseur of art. Probably, in 1714, Watto accepted the bond offer to settle in his new mansion. There, the artist could enjoy the contemplation of a magnificent collection of paintings, sculptures, drawings, carved stones, there could work, without thinking about the bread.

Simultaneously with the military themes in the work of Watto, the topics associated with the life of the theater and actors begin to be firmly. The artist himself creates the miceanssen, the scenery replaces the landscape background. Sometimes it is a single figure of a musician, singer or dancer on the background of the landscape: "Finttta", "indifferent" (both - 1716-1717), sometimes - several artists or artist's friends in theatrical costumes: "In Metretten's clothes" (1710s) , "Actors italian comedy"(about 1712).

Living at the crouse, the artist could observe theatrical performances On the village of Nature, fashionable at the time in the capital of entertainment nobles, concerts, pantomimes, masquerades of these impressions are inspired by the most poetic works of Watto - "gallant festivals".

As noted by N.L. Maltseva: "Galanta festival" Watto is imbued with hidden, barely noticeable spiritual motion, contradictory sentiments, they sound the gentle, then the lucavo-ironic, then sad intonation, the poetic dream of an inaccessible beautiful, then the disbelief in the sincerity of the heroes. Scene situations and experiences of heroes are given in organic communication with nature. It is transferred to the feeling of the frequency of life, the fragility of her happy moments, peculiar and his heroes, among which there is no volitional natur.

In the picture "Society in the Park", elegant girls and young men are talking peacefully, just enchanted by the poetic beauty of nature, consonant with their mood.

Pensive silence reigns in the landscape, and Watto characters do not have the rapid manifestations of feelings. Focused on themselves, they move in slow motion rhythm, according to the barely noticeable semi-jams, glances, incomplete movements you can only guess about their experiences. "

In 1717, Watto writes one of his best paintings - "Pilgrimage to the island of Cefera." For her, in the same year, the artist received from the Royal Academy especially for him the invented rank of "artist of gallant festivals".

The image of the work is extremely musical. It seems that in the composition of the painting is performed by some a slow dance, in the rhythm of which ladies and cavars move along the hillside to the roaster, which should deliver them to the Cefera.

Every gesture, turning the head, the expression of persons pass the finest shades experiences. The artist does not seek to individualize the images, his heroes and heroines look like. Lyric advantage, he puts his task to recreate the world of emotions, show their birth and development, their finest nuances.

By 1718, there is a magnificent picture of Watto - "Caprician", an extremely indicative image for the master of the sophisticated emotionality of the image, an accurate and exquisite pattern, harmony of coloring.

At the end of 1719, Watto goes to England. Here he again writes the theater - the picture "Italian actors", one of its last theatrical compositions. The actors stand in front of the audience, as if adjacent to them, as if giving the last bow after the last act of the picturesque play of the artist.

"Italian actors" were bought from Watto who treated him by Dr. Middle, the artist burned from Chakhotka. Treatment did not help. Watto returned to Paris in the summer of 1720 hopelessly sick.

Knowing that he will die soon, he as if he gathered all his spiritual powers. In the last year of life, he created his most significant paintings: "Housing", "Portrait of the Sculptor Patera," "Sign of Zersen" and its best drawings.

Loneliness, sadness, dissatisfaction with special power are embodied by the artist in the image of "housing" (about 1720). Stress-fixed posture, firelessly lowered hands, a pale face, a sad look convincingly reveal the state of his soul, in which loneliness lives, sadness, dissatisfaction.

Italian art historian Fossi believes that "housing" is one of the most mysterious paintings All world painting: Who is this young man in a mask, with a puppet look, with hanging, like puppets, hands, but alive, sensitive palms? And what kind of people are sitting at his feet, what they look at, what are you laughing and what are surprised, having troughing the crumpled grass, removed in this way emotionally from the unattainable mannequin, the only figure on which the viewer's eye stops? And donkey? And the car (four-marched pillar or a pedestal ending the sculptural head or the sculpture of the bust without a head) of the Faun, a visible on the right, is a paradoxically lining, like all sculptures depicted Watto in scenes "in nature"? "

The brilliant finale of Watto's creativity - "Signboard Zersen".

Her lucky owner made sure that she was written in a week, and then the artist worked only in the morning; fragile health, or, it is better to say, the weakness did not allow him to work longer. "

For seven short sessions, the artist created a real masterpiece!

For the first time in the painting Watto, the world of art separated from the world of real, and real people From flesh and blood first shown in direct interaction with the fictional, picturesque world.

"Everything connected in this bizarre picture, where the usual borders of the genres were destroyed with the same royal confidence that the front wall of the Zersen's shop itself, - writes Yu.M.

Hermann. - Family work of packers, tenderness of lovers, unstable in the store, funny flue of amateurs, proud of their involvement in professional secrets, touching attention to the art of those who are in fact able to admire them.

At the same time, everything in the picture seems so natural, so by itself what is happening that it is difficult to see for this simplicity an unmistakable and perfect composite calculation.

There is nothing casual in this work Watto. And even the dog on the pavement helps to balance the picture, since the right group is deeper than the left and it seems more easier. "

Close friends tried to help hopelessly to a sick artist, setting it in a beautiful house in the vicinity of Paris. There he died on July 18, 1721. "He ended his life with a brush in his hands," he wrote one of his friends about him.

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In the discipline "History of foreign art"

"Creation Antoine Watto In the context of art Rococo. "

Introduction 2.

Chapter 1. Biography of Antoine Watto. four

Chapter 2. Creativity Antoine Watto. 6.

2.1. Creativity Antoine Watto and theater. 7.

2.2 Creativity Antoine Watto and decorative art. fourteen

Conclusion. twenty

Bibliography. 22.

Introduction

The stylist direction Rococo dominated European art during the first three quarters of 18 V.No, was not so much an independent artistic phenomenon, as a phase, a certain stage of the pan-European Baroque style. The term "Rococo" appeared in France at the end of the 18th century, in the heyday of classicism, as a contemptuous nickname for all mannered and coupling art 18 V.: Curved, capricious line, resembling the outlines of the sink, is its main sign. The art of Rococo is the world of fiction and intimate experiences, decorative theatricality, sophistication, sophisticated refinement, there is no place for heroism and pathos - they are replaced by Igor in love, fantasy, adorable trinkets. The heavy and pathetic solemnity of the baroque comes to replace chamber fragile decorativeness. The slogan of a short, short-lived "century" Rococo becomes "art as a pleasure", the purpose of which is to excite light, pleasant emotions, entertain, caress the eyes with a bizarre pattern of lines, exquisite combinations of bright elegant paints, which was especially expressed in the architectural decoration of the interiors, with the new requirements of which Sophisticated painting Rococo. The most common form of the pictorial work was the decorative panel, mostly oval, round or fancy-curved shape; The composition and drawing is based on a gently bending line, which gives the product to be mandatory for this style personality and verbose. In his colorful quests, rockey masters were walking from Rubens, Veronese and Venetians, but did not prefer their saturated, juicy colors, but pale halftones: red becomes pink, blue - blue, lemon-yellow, faded-blue, pink, lilac colors appear, even Fictional - like the "thigh colors of frightened nymphs." One of the founders of Rococo style was the talented Antoine Watto, which gave the most advanced embodiment of the principles of this style. Emotionality and melancholic dreaminess give the characters of Watto images a special refinement, which is no longer reached by the immediate followers of the master, which turned its motifs and a manner into the exquisite and surface models.

Chapter 1. Biography of Antoine Watto.

Watto, Jean Antoine (1684-1721), French painter and draftsman. Born in Valencienne in 1684. In 1698-1701, Watto studied at the local artist Zherence, at the insistence of which he copied the works of Rubens, Wang Dequee and other Flemish painters. In 1702, Watto went to Paris and soon found the teacher and the patron saint in the face of Claude Jello, theatrical artist and the decorator, who wrote pictures with scenes from the life of the modern theater. Watto quickly surpassed in the skill of his teacher and approx. 1708 Enrolled in the Decorator Claud Decorator workshop. In 1709, Watto unsuccessfully tried to win the Grand Prix of the Academy of Arts, however, his work attracted the attention of several influential persons, among whom were the patron and sign of painting Jean de Julienne, a trader paintings by EDM Francois Zhersen, banker and collector Pierre Croza, in the house of which the artist lived some Time, etc. In 1712 Watto was presented to the rank of academician and in 1717 he became a member of the Royal Academy of Painting and Sculpture. Watto died in Naban-sur-Marne on July 18, 1721.

Watto was one of the most famous and original French artists of the 18th century, which, on the basis of the traditions of Flemish and Dutch art, created a new style - Rococo. In mature years, Watto studied Painting Rubens, in particular the cycle of his paintings dedicated to Mary Medici and decorated the walls of the Luxembourg Palace. Among the drawings of the artist, several sketches from these panels are preserved. At the heart of Watto's favorite theme - images of gallant festivals - Lies the picture of Rubens of the Gardens of Love.

Another equally important source of Watto's creativity - drawings of Venetian masters from the collection of his friend and patron Pierre Croze. A particularly strong impression was made on the artist of the work of Titian and Paolo Veronese, as well as landscape drawings of Domenico Campanola. The works of Parisian teachers Watto, housing and evident, became samples of refined taste for him, manifested in the creation of exquisite Arabesok from figures and plants reflecting artistic addictions - early 18 V. In the image of theatrical scenes, he was a follower of housing.

In the style of Watto, all these sources are felt, but in a very original alloy. His earliest work - scenes in taverns, images of biwacities and military camps, written in the Flemish tradition, have qualities that anticipate the mature style of the master. However, the plots most fully responding to the taste of Watto itself are the images of the characters of the Italian comedy (housing, Louvre; Messagence, New York, Metropolitan Museum) and gallant festivities. The genre of the gallant festival is a scene with fashionable dressed ladies and elegant cavaliers against nature. However, Watto fills them with a feeling of longing for the unattainable world of dreams. Even costumes are elegant variations on the themes of modern fashion - are the fruit of the artist's fantasy.

Chapter 2. Creativity Antoine Watto.

Watto's work marked the beginning of a new stage in history european painting, graphics I. decorative art. Following the characteristic motifs of the genre painting of the XVII century, Watto turned to the image of the modern life ("Savoyar with Surcom"), in which he made special intimacy and lyrical excitement. In mature, the artist prefers the theatrical scenes and the so-called "gallant genre", depicting all sorts of holidays, masquerades and fun, romantic dates, a refined game of love careless ladies and cavaliers ("Holiday of Love", "Rest on the Hunting", "The joy of life", "Society in the Park").
An important role in B. creative method Watto played poetic imagination. Watto for the first time recreated in art the world of the finest mental states ("Caprice", "Difficult Proposal"), often painted by irony and bitterness. Characters of Watto paintings are constantly repetitive types, but the infinite variety of shades of the poetic feeling (the "Venetian holiday") lies behind their gallant game. The decorative sophistication of the works of Watto served as the basis of the rococo artistic style.
In addition to the "gallant scenes", Watto wrote landscapes ("Landscape with a waterfall"), portraits ("Gilles", "Messagence"), mythological compositions ("Court of Paris"), religious compositions ("Holy Family"), nude nature (" Behind the toilet ").
Watto also known as the writer's writers in which he captured a variety of representatives french society.
Watto was recognized in an artistic environment as a thin and original master. In academic circles, his authority grew so much that in 1712 he was admitted to the Academy members, and in 1717, the title of academician received the title of Academician for a large picture of the "pilgrimage to the island of Ceferu".

2.1. Creativity Antoine Watto and theater.

2.2 Creativity Antoine Watto and decorative art.

Watto preferred small pictures. But he was a master of decorative art: he did an ornamental panel for the interiors of mansions, painted the doors of the carriage, Clavesis and Werera. It had an impact on the architectural decor Rococo. And decorative work, and large cloths - "Pilgrimage to the island of Cefera" (1717), and the famous "sign of Zhersogen" (1720) are distinguished by typical features: amazing painting, trembling and tender; the finest gamma of fleeting moods; Virtuoso composite skill - director's skill, suddenly stopped superbly thoughtful theatrical action in the very important moment dramatic development of relationships and characters characters.

"Pilgrimage to the island of Ceferu."

This extremely elegant (and melancholic) picture of Watto presented the jury of academics with its election to the real members of the Royal Academy of Painting and Science in 1717. Khifer Island, which appears in the name of the canvas, is Cyprus, the birthplace of the Goddess of Love Aphrodite (in the Roman tradition - Venus). So the pilgrimage on the Cefera was for the French XVIII century (Even for those who are not too tunnel in antique mythology) allegory is very transparent.
"Pilgrimage to the island of the Ceferu" is more configured than the narrative picture, as, however, most of the work of Watto. From the title, you can conclude that the author wants to show the "love holiday". But no. Rather - the end of the holiday, when all ambrosia is eaten and nectar will drink. The feeling of the fleeting and fragility of happiness (and, by and large, his impossibility, because a person cannot be satisfied with the "fleece", and in the MiG of the highest bliss thanks that "everything will end") is emphasized with autumn, twilight transparency of the landscape.

Antoine Watto often included the statues in his compositions associated with the plot and mood of the picture. In the "pilgrimage on the island of Cefera", the statue of Venus is semi-width in the shade of trees. We turn to her a look due to pink colors, which the stone body of the goddess was seen. It should be noted that by the foot of the statue of the goddess is tied by the pink ribbon of the quiver with arrows. This is the sign of the presence of Amur, the playful Son of Venus. As for pink color, his watto is plunging so that he led to the view of the viewer on a whimsical trajectory - from the pink colors of Venus, through the cape of the lady and the bright pink Cavaller Camoles standing with his back, to the push, soaring in the sky over the island.
Watto always worked quickly (the huge "sign of Zhersogen", written in a week, is not a myth at all) and often caused paint too hastily, that sometimes led to blots and distortions. But in this case, this hasty helped the master to brilliantly convey the texture of foliage - it becomes only expressive thanks to the traces of the brush, remaining on the surface of the picture. The paints are applied with thin, almost transparent layers, in the technique "wet in wet", while brown tones look through the green, which, undoubtedly, enriches the tonal gamut of the paintings. In the same manner, he wrote to the foliage and Thomas Gainesboro, very honored Watto talent.

"Sign of Zersen"

Shortly before death, returning from England, Watto wrote his "Requiem" - "Sign of Zersen".

"Upon returning to Paris in 1721, when I was just beginning my job," Zersen tells himself, "Watto came to me and asked if I would agree to settle it at myself and allow him how he put it," to stretch hands "and write Sign in so that I could hang her over the entrance to the arch. I did not want to accept this proposal, I preferred to take it with something more thorough, but, noticing that the work would give him pleasure, I agreed. Everyone knows how this thing managed to him; Everything was performed from nature, the postures were so truthful and relaxed, the composition is so natural; The groups are so well placed that they attracted the gaze of all passersby, and even the most experienced painters came several times to admire the sign. She was written in a week, and the artist worked only in the morning; Fragile health or, it is better to say, weakness did not allow him to work longer. This is the only work, somewhat slightly strung it, "he frankly admitted to me in this."

It is hardly believed that a thing is so deep in the plan was fulfilled so quickly; Unusually large for Watto format only enhances doubts. It is difficult to believe in the fact that "everything was fulfilled with nature." Suppose this applies to the interior and individual figures, but not to the composition as a whole. As for the high author's self-esteem, this is the rarest Watto biography example of satisfaction with itself indicates a completely exceptional meritary advantages.

The meaning of this picture for the entire Rococo era is no less than the meaning of the "Menin" Velasquez for the preceding century. Not assumed the causal relationship, it is necessary to note the intriguing similarity of the director: in the same case, all the heroes are the essence of the audience.

Relative to the plan of Watto, various hypotheses were expressed, the most convincing of which was expanded by Louis Aragon and later found the development of a number of authors. The meaning of this interpretation is that under the guise of the sign of Watto presented the story of painting, which he knew it; At the same time, this picture of the creative evolution of the painter himself, which became its "art will". One of the arguments in favor of this point of view serves a poem placed under the Gravury Alelina, which reproduces a picturesque original. An anonymous poem explains that Watto presented the characteristic manners of various masters here, their handwriting and taste.

I do not reject such a look, you can interpret the idea of \u200b\u200bthe picture somewhat differently. In the walls of the Watto's shop-gallery depicted a whole world - the world of art.

Indeed, in front of us - the story of painting, as if played on stage, stepwise to whom can be right from the street, as it makes one of the adorable heroines of the paintings.

However, we remember on the threshold.

Watto conceived a picture as a signboard to put it on the entrance to the bench. Hence the principal significance of the semantics of the door and the threshold. Generally speaking, the gates and doors perform an extremely important function in the space of human communications. They regulate the relationship type "Cultural - Natural" (city gates), "Sacred - Milsk" (gates or door of the temple), "Public - personal" (house doors), etc. With this, different kind of rituals of entry and care, one way or another focusing the boundary value. Location, formation and design (symbols, images, inscriptions, etc.) Gates and doors mean certain conditions of spatial communication. Here, on the verge of doors, you can clearly make sure that the expression "Space language" is not only a metaphor. A number of spatial mediators can be continued by windows; Rama painting is also ascebly.

And although in the "sign of Zhersogen" Watto, like the all-seeming hero of the forest, gives the viewer the opportunity to see "through the walls", the threshold carries its service, distinguishing the external and inner, street and interior. The only character placed in the outer space of the picture is a dog that is imposed on the threshold and selflessly biting fleas.

On the same border - the favorite Heroes of Watto, the gallant couple: the lady depicted from the back, barely stepped through the threshold, and the cavalier, represented by the face, offers her hand. To the left of them is a group of employees engaged in packing paintings. On the right, a little bit, - a group of visitors who are visited by examining the canvas. All the walls of the shop are occupied by paintings of different sizes hanging close to each other.

The light is directed in such a way that the right side of the interior is illuminated stronger than the left. There is reason to think that the lighting is symbolic. Before us - the ROI-SOLEIL era: his portrait is stacked in the box, as in the coffin, and together with him goes into the past art of "big style"; However, I look at the right, see the morning of the new era, at the dawn of which Watto spoke. Is it not his "muse" demonstrates to admiring young people a little picture apparently to us, as in "Menins", from a backward side? And doesn't it work by Watto?

We are in front of us - a whole world of painting, her heroes, her actors, her audience, viewers, old and new, curious voyeers and penetrated contemplants, and in all - invisibly present, filled with love and sadness, dreamy and slightly ironic artist, with a farewell smile To the lived and experienced. "He says goodbye to the world, who was his relatives for him so long, with lovers of art, of which many were his good friends, although they did not always understand it to the end, with noble customers and sophisticated merchants, with their own heroes that came finally in his everyday world; He says goodbye to paintings looking from the walls of the shop, with the smell of old paper, on which the invaluable prints of famous engravings are preserved. " (M. Herman)

Switching attention from a contemplated object on the contemplation itself, Watto demonstrates finely developed phenomenology. If it is legally to interpret the "sign of Zersen" as a kind of story of painting, this story is inseparable from the viewer, because the tastes and manners of the letter peculiar to the painters of different times are as closely related to different forms of perception.

Roden once noticed that large masters, as a rule, precede the era, where their ideal triumphs. "Vatto languid grace as if imposed on all the reign of Louis XV, he lived in Louis XIV and died with regent."

These words are more than just in relation to the "sign of Zhersen": the epilogue of Watto's creativity serves as a prologue of the art of the whole era.

Conclusion.

Antoine Watto was one of the greatest masters of French art of the 18th century, an artist of a subtle poetic feeling and large picturesque dating. The dreamy and melancholic master of the "gallant festivals", he introduced in the image of the life of a secular society with genuine poetry and the depth of feelings, and in the interpretation of love scenes and careless fun, a shade of some kind of longing and dissatisfaction. Very often in his paintings there is an image of a lonely dreamer, melancholic and sad, immersed in meditation and spent from a noisy fun, from a vanity vanity of the crowd. This is a genuine Hero Watto. A painful, lonely and closed, he himself was alien to society and entertainment and looked at them with the eyes of a third-party observer, at the same time admiring the festive colorfulness of the crowd, sophisticated grace of cavaliers and ladies and guessing this shiny surface empty indifference or deep human suffering. Its workers are always wanding with lyrical sadness. We will not find in them stormy fun, sharp and sonorous paints. Watto color is built on thin and gentle nuances of tones, it is attracted by faded paints muffled.

Lanya and Pateron continue to the Watto line in painting, but their works are deprived of both the thin poetchiness of Watto and the acuteness of his realism. More fruitfully develop realistic achievements and colorful quests Watto, Chardore and some other realist artists of the middle of the century.

Removed during life and after death (especially Julien and Croze) by the middle of the century, Watto was almost forgotten;

The art of Watto was widely distributed in other countries: in England, thanks to Mercier (approximately 1740) in Spain, thanks to Kiarau, not counting the numerous fakes created in the middle of the XVIII in Paris for the Prussian courtyard. Pictures. The three largest assemblies of Watto drawings (Stockholm British Museum of Louvre) indicate the virtuoso possession of Sangina and coal, which in most cases imposed on toned paper.

Watto's work discovered new ways to art knowledge modern life, to the aggravated perception of lyrical sentiment and poetry of nature; According to its content, it is wider and richer by the art of Rococo, in the development of whom the Heritage of Watto (especially his ornamental panels) played an important role.

Bibliography.

Akimova L.I., Busheva-Davydova I. L. Art history - M., 2003

Alpatov M. V. Etudes on the history of Western European art 2 ed. - M., 1963

Nemimate I. S. Watto and his works in the Hermitage - L., 1964

Chegodaev A.D. Antoine Watto - M., 1963

www.art-history.ru.

Big Encyclopedia Cyril and Methodius

Encyclopedia Brockhaus and Ephron

Free Electronic Encyclopedia Wikipedia

Watto Antoine, an outstanding French painter, with whose work is connected by one of the significant stages of the development of household painting in France. The fate of Watto is unusual. Nor in France, nor in neighboring countries were not in the years when he wrote the best things, not a single artist who could compete. Titans XVII century did not live to the Watto era; The same, who after him glorified the XVIII century, became known to the world only after his death. In fact, Fragonar, Kantne de la Tour, Perrono, Charden, David in France, Thipolo and Longs in -italy, Hogart, Reynolds, Gainesboro in England, Guya in Spain - all this is the middle, and then the end of the XVIII century. Watto was alone, he probably did not know; There were rivals around the honors and held high positions, painters like Kouapel or De La Foza, now almost forgotten history.

Words about the "fragility of the Watto World", which have long become truisy, did not lose justice: it is a kind, art created by the world, which connected two historical periods, which connected the connection that is so easy to adopt for an elegant rokaya garland, but for which tangible tension tightened, ready to break strings. Meanwhile, the art of the artist is still able to cause an idea of \u200b\u200bsomething rather sophisticated than deep. The world created too much, where thoughtfully smiling, the submissive will of the fate of the ladies and Cavalers are committed, as if under the ceremonial melodies of the forgotten menuets, melancholic walks past the dull marble statues and balustrades, between rows of slender trees, along the streams with artificial waterfalls; Where gentle silk overflows are so good against the backdrop of pale foliage or theatrical picturesque in the golden clouds of the evening sky. And it is unlikely that there is a resolutely separating the artist from these associations and oppose the excessive psychological complexity and the reflection of the XX century. It is more important to determine what he is inseparable from his time, what was ahead of him, and sometimes he became alien to him at all; To see the deep personal attitude of the master to life, where bizarre and paradoxically joined the enthusiasm and skepticism, sober sadness and the ability to sash the dream into almost tangible reality.

Watto was not a politician, but he was endowed with a special kind of sensitivity and lived among people of enlightened, inclined to radical and bold judgments, so characteristic of the era, when, according to Herzen, "the XVII century erased and the jumping dusk had already blocked the eyelid. powerful, active XVIII century; Already, the nations looked at themselves, the Montesquieu wrote, and the air from near-thunderstorm became dashed. " Who knows whether Watto can be called a philosopher, but its painting is quite philosophic; in his canvases a lot of anxiety, even tragedy; The artist lives in the world, the doomedness of which feels, but which does not get tired to admire, remaining, however, the contemplate not seeking to enter this world.

Watto's deeds are put in a bograph's deadlock. The case was somewhat smiled at him, but the artist seemed to avoid happy turns of fate - the fear of dependence was stronger fear of needs. The leaving from Valencienne, the city at that time rather than Flemish, rather than French, Watto came to Paris of the sixteen-seventeen years to Paris. The beggar provincial, weak, often chopped, proud and shy, fiercingly talking in French, in the capital he looked a lot of grief at first.

But even in these most difficult years, earning bread with cheap copies, Watto finds time to draw for yourself. Then there are small albums - a carne, where a pencil with an unexpected hand with an exquisite accuracy "stops the moments of boiling and blinding metropolitan life. In a kaleidoscope of rapid impressions, he is looking for the fact that the creation of the essence of art. From here, it is likely that his early addiction to the theater, where everything is no coincidence, where the plasticity and expressiveness of gestures and the positive will be turned out of generation to generation by turning skill - the Paris reality is cast on the stage of theaters and boalas in the form final and chased. FROM young years The theater becomes for Watto with a substantial face of reality, and reality often turns out the scene. The first happy meeting is Jean Mariett, the successor of his father, a famous trader with paintings, and his own connoisseur and a good artist. Marietta's shop, then the workshop of Claude Jello, where Watto comes with a student, - the beginning is not just professional education, but the entrance of the artist into the world of modern ideas to him. In the enlightened circles at this time, the desire to see life, bypassing pompous diagrams and the straight line of the past century's art, the attitude to reality becomes sad ironic, and the twilight is still licked the reign of Louis XIV leave no place for anything other than the beneficial doubt that one Able to occupy the minds of thinking people.

Born in Valencienne, on the border with Flanders, in the family of a poor roofer. The first lessons of painting received from the local artist Gran. In 1702 Watto moved to Paris. He studied at artists-decorators housing and evident, harbing art Rococo. Independent activity began in 1709-10. In the fore genre pictures ("Savoyar with Surcom") and the paintings of military topics ("Bivouuck", "war" and "military distribution") affected the impressions received in their homeland. Harma with Surcom - he, of course, is poor, and hungry, but the artist does not depict him unhappy. Savoyar is riddled, firmly stands on Earth, although it does not fit into the world around the world with the natural ease that the heroes of "gallant festivals"; Savoyar is not outdoors outdoors, but on his background, he is in the same way as housing, a silent dialogue with the audience, and he also in his own way monumental, and not at all, his soul is not at all, in which the boyish straight matters combines alertness Lich adult man. Sometimes there is a feeling (in any case, and "housing", and "Savoyar with Surcom", and many drawings make it possible to talk about it) that the pencil and the brush of Watto stretched to the image of suffering and disadvantaged poor people, even cripples, but intended in drawings It turned into something completely different in Intines, as if the artist was afraid to open his alarmed false soul suffering, feared to be even in front of himself openly and just sad. After all, he himself is akin to these sufferers, he is sick, west, he is alien to the seductive festival, which does not get tired to admire. And he did not know about himself, and he did not want.

His pain and compassion seek to hide behind the carnival domino, behind the outer cynical and slightly sentimental smile, with whom they look at the life of his smart, but striving for the heroes as much as possible. Shakespeareskoye "Some in the Power of the Danish rot" is felt in the greenhouse of the heroes of Watto, but not with Hamlet tragedy, but with a shade of mocking fatalism. The skepticism of Watto characters is truly universal. They do not believe quite not only in good, but also in bad, they are no longer able to rejoice in a freely, but they are not capable of and truly worry, no feeling is realized from them to the end. Only the artist himself accommodates his pain and anxiety in the soul, but he allows himself to say about it only with a hint, tonality, color metaphor.

Already by 1711-12, the direction of Watto's creativity became different and decided finally: he writes the so-called "gallant scenes", depicting having fun and cavaliers ("Difficulty"), theatrical scenes, small bands, expressing the desire of the artist to go to the world of poetry, fiction. The flourishing of artist's creativity is 1712-17. Graceful expressive figures in its pictures form rhythmically related groups. Watto writes in a free fast manner that gives the whole image of living nervous tribacy, imposes paints with a little, as if a vibrating smear, and against the background of the silver greenery of the landscape of his characters in pink, blue, gentle-lilac suits, illuminated as if by flashing the ramp light, impress Gust, movement, dance. In 1712-16, Watto performed four oval paintings on the topic "Seasons" for the famous collector Pierre Croze. Most fragments and etudes have reached this work: "Sitting Wakh with the bowl" (Etude the main figure of the composition "Autumn"). Other etudes and sketches are also known to the "year of year", preserved in museums and private collections of the United States and Europe.

In 1717, Watto received the title of academician for the painting "sailing to the island of the Citera." Between 1717-21, well-known works were arising: "Menzenate", "Gilles", "Society in the Park", in which increasing melancholy feels. According to the evidence of contemporaries, painting little satisfied Watto. He found more pleasant to draw than writing paintings. Watto drawings made by him from nature testify to the wonderful wizard observation, are striking with sharpness and conciseness. They reveal the depth of realistic trends in the work of this artist. After 1710 Watto created a group of drawings of folk types. One of the best in it is a "shoe cleaner". In the same period, the masterpieces of the Watto-Draftsman were created: a series of his "naked shapes in the chair".

In the canvas "Caprice" (more precisely, the "inflated lips") "Watto World" is concentrated into the image of the capacious, the limit is saturated, where the insignificance of the situation turns away with unexpected drama. All here is typically for Watto: And the flying trees of the park, so reminiscent Luxembourg or Saint-Clas on the outcome of the summer, when dry leaves, circling, fall on the tracks, and leisurely people, gracefully strolling along the alleys, and high sky with pale golden clouds, and exquisitely dressed the pair in the foreground, occupied by the lazy ritual flirt, where the risky hints are indispensable and risky, and a harsh resentment, where everything is predetermined in advance and, alas, nothing can deeply shake tired souls reluctantly playing in real life of people. Among this world, shining with gentle paints of fading nature and transfusted silks, among this unhurried pir of toy and unscrewing passions suddenly he is suddenly dumb and a terrible color "explosion" - a dark, almost black chord of the dress of the heroine, a mourning strike Litavr, burst into carefree Gavot. This contrast is so significant than the fumes, the puppet life of spiritually anemic, albeit charming characters, that all the vainness, insignificance and the doomedness of the galant festival of the century of powdered wigs are exposed to the frightening force of sudden revelation. No, Watto is not tomis specific premonitions, but the ephemerality of reality, which belongs to himself, is undoubted. If not for mind it, then for artistic intuition.

"Caprician" was not, of course, last picture From the galant festivities Watto, but it feels like a kind of result, the quintessence of all the most important created by the artist in this way. Moreover, the last things of the wizard carry a unreasonable seal of restless insight. The world of values \u200b\u200bis changing for Watto, even the usual topics he writes quite differently. However, in the picturesque works created shortly before the death ("Portrait of the Sculptor of Pathers" and "Sign of Antique Bezen's Gosen"), the viewer arises new Watto - Artist-Realist, embodied in his last creations, truthful fixation of the movement of figures, and his characteristic of interrelated rhythms, and amazing colorful effects inherent in his manner. A year before the death of Watto, the last masterpiece writes his masterpiece, the picture is not at all similar to everything he wrote before. As if the curtain was lowered in the theater, the lights of the masquerads were injured, the masks were removed, and in the light of the day the artist showed us the ordinary world in which he lived. In which he lived, and not those who were dreaming.

He wrote a signboard for his friend Zhersen, a merchant paintings, for his shop "Great Monarch". He again turns to this unassuming genre, the laws of which allow you to write what will do. Watto portrays on the sign for a shop itself, he writes that such an attractive and romantic world, which opened him twenty years ago and who now became an ordinary, where the art remains the same inexhaustible and full of miracles. No more skeptical cavaliers and mocking ladies in the ghostly carnival world. Now the former Heroes of Watto set foot on the dusty plates of the Paris pavement, they stumble down the street, entered the shop, they loved the paintings or pretended to be loved. They no longer play an ironic pantomime of life, but live, come into tense communication with art. Watto makes the wall of the walling permeable to the viewer's eye (it's simply no), although for character characters this obstacle exists and in their movements we guess the doors, and in the shop you see people who do not suspect that they are visible - as in the "chrome demons" of the forest. In the foreground, the portrait of Louis XIV in the box is stacked in the box - this Nomudren, but the acute metaphor of the epoch says goodbye to the last. And there, in the depths - a deep and thoughtful world, where it becomes clear, who is worthwhile: the art does not carequake the choice between those who love him, and those who only play this love. The sharpness of the future Satire of Hogarth and Goya is guessed in the deliberate gestures of the coxeding "professionalism" of amateurs. True connoisseurs a grateful artist gives special spirituality; And most importantly - the paintings in the dim depth of the shop, the art surrounding people shall with their earthly undoubted reality, which was not looking for before Watto. The world invented was separated for the first time with such a certainty of Watto from the world of real. "The sign of the shop Zersene" became, perhaps the picture of the Epoch of the Enlightenment in France, which the French is poeticly called the "age of lights". "Signboard" is not a dream, this is a compound of acute thought, tight sadness and confidence in the values \u200b\u200bof earthly, full-blooded being. It was probably the last significant work of Watto.

He died in the summer of 1721, having live only thirty-six years. Watto left the descendants a decision of a difficult question: why his so the same, not inclined to passions and decisive actions, the characters are so firmly in the souls of people near the mighty characters created by Rembrandt, Goya, Vrubel. The meaning of the art of Watto in a thousand advantages of his paintings, but there is something particularly significant: no one has been able to see him and did not seek to see the feeling in his paradoxical duality, to see funny in the sad, serious in funny, so twist the thoughts and experiences of the author and the characters that The paintings became almost the same as life itself. And yet: Watto felt fragility, and sometimes the emptiness of the world he wrote, but he also saw his unlikely spirituality, I understood that every day I would not return, and for the outgoing current day, as jealous of the days that had long passed.

Rococo era: Jean Antoine Watteau (Jean Antoine Watteau) - Master of Galant Scenic

Painting Watto, charmingly beautiful, like a messing dream, and as if so please and escape, became the highest incarnation of Rococo; But at the same time, it goes far beyond the purely decorative aspirations of this style. The distemper, the spiritual crisis, who worked in the era, the artist, like no other, sensibly expressed the premonition of the inevitable change, the loss of old ideals and the search for new ones.
(Source: "Art. Modern illustrated encyclopedia." Ed. Prof. Gorkina A.P.; M.: Rosman; 2007.)

Jean Antoine Watto (1684-1721)

Watto was born on October 10, 1684 in the Flemish city of Valencienne, who was previously captured by the troops of the French king of Louis XIV. In his youth studied fine art Jacqua Albert Gena.

Around 1702, the artist arrived in Paris, worked as a copist. Training in the painters of Claude Claude (1703-1707 / 08) and Claude Odran (1708-1709) contributed to the awakening of the interest of Watto to the theater and decorative art. Watto experienced the influence of Peter Paul Rubens, whose works studied in the Luxembourg Palace in Paris.

In 1717, the Royal Academy of Arts adopted his picture "Pilgrimage to the island of Cefera", and Watto became an academician. In 1719-1720, he visited the UK.

The plot of the painting "Pilgrimage to the island of the Cefera", borrowed from the ballet and opera performances of the 18th century, is presented as a gallant festival in the garden in front of the statue of Venus; In the distant on the distinction of the golden roams and frozen amurists are visible. Like other works of Watto, the picture is not built on action, but on the shades of feelings and sentiment. Smooth gestures, elusive views flow one to another; The rhythmic organization of figures and objects likes them exquisitely beautiful arabesms, fashionable in 18 V.

Watto was the creator of a kind of genre, traditionally called "gallant festivals". The essence of these scenes is revealed not so much in their direct plot meaning, how much in the finest poetrywhich they are imbued. "The Holiday of Love" (1717), like other pictures of Watto, contains a rich range of emotional shades, which begins the lyrical sound of the landscape background. Watto opened the artistic value of fragile nuances of feelings, barely catchy each other. His art for the first time felt the disorder of dreams and reality, and therefore it is marked by the seal of melancholic sadness.

Holiday Love (OK.1717) (61 x 75) (Dresden Gallery)

Marriage contract (OK.1711) (47 x 55) (Madrid, Prado)

Magnificent ball (1715-1717) (52.5 x 65.2) (London, Dulwich Picture Gallery)

Venus disarms Amur (47 x 38) (Shantilia, Conde Museum)

Venice Festival (1718-1719) (56 x 46) (Edinburgh, Nats. Scotland Gallery)

Love (between 1715 and 1717) (24 × 17.5) (Shantilia, Conde Museum)

Gadalka (San Francisco, Museum of Elevation. Executives)

Guitarist and young lady with tetrade (possibly 1718) (24.3 x 18.4) (Madrid, Prado)

Two cousins \u200b\u200b(OK.1716) (30 x 36) (Paris, Louvre)

Rustic fun (1718) (88 x 125) (London, Wallace Collection)

Rustic dance (1706-1710) (50 x 60) (Indianopolis, Museum of Art)

Arrogant

Difficult proposal (1715-1716) (65 x 84.5) (St. Petersburg, Hermitage)

Caprician (OK.1718) (42 x 34) (St. Petersburg, Hermitage)

Coquette (OK.1712) (19 x 24) (True, Museum of Arts)

Concert (1717) (Berlin, Charlottenburg Palace)

Bathing Diana (1515-1516) (80 x 101) (Paris, Louvre)

Cook (53 x 44) (Strasbourg, Museum of Arts)

Love couple and Mannell with a guitar (1713-1715) (36.3 x 28.2) ( private collection) (estimates. cost 24 million dollars)

MESTSEETEN (1718-1720) (55.2 x 43.2) (New York, Metropolitan)

Messcenet (OK.1715) (24 x 17.5) (Shantilia, Conde Museum)

Dreamer (1712-1714) (23.4 x 17) (Chicago, Institute of Arts)

On the Champs Elysees (OK.1718) (32 x 41) (London, Wallace Collection)

On the Champs Elysees_Deal.

Nymph Fountain (OK.1715-1716) (Private Collection)

SELASTER (OK.1712) (18 x 25) (True, Museum of Arts)

Society in Park (1712-1713) (47,2 x 56.9) (Madrid, Prado)

Society in the Park (OK.1716-1717) (33 x 47) (Paris, Louvre)

Outdoor Society (between 1718 and 1720) (111 x 163) (Berlin, State Museum)

Outdoor Society (San Francisco, Museum of Elevation. Executives)

Suffer (careless game) (OK.1716-1718) (40 x 31) (Paris, Louvre)

Autumn (OK.1715) (48 x 41) (Paris, Louvre)

Pastoral (1718-1721) (48.6 x 64.5) (Chicago, Institute of Arts)

Cowlows (1717-1719) (56 x 81) (Berlin, Palace Charlottenburg)

Cowlows (OK.1716) (31 × 44) (Shantilia, Conde Museum)

Waterfall Landscape (1712-1713) (51.1 x 63.2) (Private Collection)

Landscape with a waterfall (OK.1714) (72 x 106) (St. Petersburg, Hermitage)

Before Hunting (1720) (124 x 187) (London, Wallace Collection)

Prospects (view between trees in Pierre Pierre Croze) (OK.1715) (46.7 x 55.3) (Boston, Elevation Museum.

Charms Life (OK.1718) (65 × 93) (London, Wallace Collection)

Bird's nest (OK.1710) (23 x 19) (Edinburgh, Nats. Scotland gallery)

Indifferent (random lover) (OK.1717) (26 x 19) (Paris, Louvre)

Joy of love (1718-1719) (60 x 75) (Dresden Gallery)

Savoyar with Surcom (1716) (40.5 x 32.5) (St. Petersburg, Hermitage)

Holy Family (1719) (117 x 98) (St. Petersburg, Hermitage)

Sculptor (OK.1710) (22 x 21) (Orleans, Museum of Arts)

Quiet love (OK.1718) (56 x 81) (Berlin, Palace Schrlottenburg)

Paris court (OK.1718-1721) (47 x 31) (Paris, Louvre)

Happy age, golden age (1716-1720) (Fort Worth, Hood. Museum Kimbell)

Dance (1716-1718) (97 x 116) (Berlin, State Museum)

Anxious love (1719) (Madrid, Palazzo Real)

Toilet (1718) (46 x 39) (London, Wallace Collection)

Love Lesson (OK.1716) (44 x 61) (Stockholm, Nats. Museum)

Music Lesson (1719) (London, Wallace Collection)

The Kingdom of Amurov (13 × 17,8) (Private Collection)

Ceres (Summer) (Washington, National Gallery)

Four (OK.1713) (49.5 × 64.9) (San Francisco, Museum of Escape. Executives)

Sensitivity (OK.1717) (26 x 19) (Paris, Louvre)

Jupiter and Antiopa (OK.1715-1716) (73 x 107) (Paris, Louvre)

Le Lorgneur (OK.1716) (32.4 x 24) (USA, Richmond, Museum of Arts)

Bivuac (1709-1710) (32 x 45) (Moscow, GMIA NAM. Pushkin)

Military distribution (1715) (21.5 x 33.5) (St. Petersburg, Hermitage)

Valencaine Gate (OK.1710) (33 x 40) (New York, Frick Collection)

Soldiers at Privala (OK.1709) (32 x 42.5) (Madrid, Museum of Tissen-Borneis)

War Trucks (1715) (21.5 x 33.5) (St. Petersburg, Hermitage)

Union of Comedy and Music (64.7 x 54) (Private Collection)

Watto loved theater plotsAlthough it is unlikely to accurately reproduced the episodes of certain performances. In the theater, he was attracted by the flight of imagination, the living embodiment of fantasy, finally, the sincerity of the game, which he did not find in life, like a hypocrisy. The nature of the figurative world of Watto corresponds to the solarness of rhythms, the smoothness of small, as if vibrating smears, the tenderness of the exquisite colorful consonance, the variability of color nuances.

Actors of the French Theater (1711-1712) (20 x 25) (St. Petersburg, Hermitage)

The actors of the French comedy in the same picture are presented on the verge of theater and reality; The performance ended, and through comic masks begin to peck the true faces and bright characters.

Its wonderful drawings are endowed with painting, even more so that they are usually made in three colors (red, white and black), which made it possible to transmit the feeling of colorful shades and thin gradations of the plastic shape. After fearless domination historic genre And the allegorical scenes of Watto opened a variety of real types of French society of the time - soldiers and beggars of Savoyarov, nobles and actors of the fair theater.

Galanted harlequin (1716-1718) (34 x 26) (London, Wallace Collection)

Italian comedy (OK.1716) (37 x 48) (Berlin, State Museum)

Italian serenade (1718) (Stockholm, Nats. Museum)

Italian comedians (OK.1715) (71 x 94) (Berlin, Charlottenburg Palace)

Italian comedians (OK.1720) (63.8 x 76.2) (Washington, Nats. Gallery)

Genuine masterpiece is the painting "Gilles". The main character in the White Piero Suit, the character of the Italian comedy del Arte, towers in front of the viewer in full growth against the background of a blue-gray empty sky. A stationary painted clown face contrasts with the revival of characters located behind him. Their laughter shall simulate inseparable sadness, frozen in full tears of the eyes of the housing.

French comedy. (OK.1716) (37 x 48) (Berlin, State Museum)

French comedy_phragment

Decorative art

Watto preferred small pictures, but he was a master of decorative art, he himself made an ornamental panel for the interiors of mansions, painted the doors of Kareet, Clavesins and Waiter, which had an impact on the architectural decor Rococo.

Decorative panel. Birth of Venus (between 1710 and 1715) (29.7 x 17.5) (St. Petersburg, Hermitage)

Decorative panel. Autumn (between 1710 and 1715) (28 x 18.6) (St. Petersburg, Hermitage)

And decorative work and large web - "Pilgrimage to the island of Ceferu" (1717), and the famous "sign of Zhersogen" (1720) are distinguished by typical features: amazing painting, trembling and tender; the finest gamma of fleeting moods; Virtuoso composite skill - director's skill, suddenly stopped superbly thoughtful theatrical action at the most important point dramatic Development relationships and characters characters.

Pilgrimage at the Cefera (between 1718 and 1720) (129 x 194) (Berlin, Palace Charlottenburg)

Sign of shop Zersen (1720) (163 x 308) (Berlin, Charlottenburg Palace)

Sign of shop Zersen_Fragment

Poetic charm distinguishes and Watto drawings are usually sanguine or three colors (chalk, Sangin, Italian pencil) and captured a variety of types of French society early XVIII century; Light strokes and wavy lines recreate in them the nuances of the plastic shape, the movement of the world, the effects of the air environment. The decorative sophistication of the works of Watto served as the basis of the addition of Rococo as a style of the style (although the artist's work in general goes far from his framework), and his poetic discoveries were picked up after the death of Watto by French painters of the middle - the second half of the XVIII century. (Chardin, Lanya, Pater, Bush, Fragonar, etc.). English art is very owned by Watto. Turner called him his favorite artist and imagined him in fantasy, called "as you please." In another picture, William Turner presented the Watto Workshop with the artist working (as the name says) "according to the rules of Charles Dufrenua."

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