Watto, Jean Antoine. Antoine Watto: paintings with titles, biography of the artist

Watto was born in a small Flemish Town Valencienne on October 10, 1684. The first painting lessons he was taught by a local artist Gorn, in the workshop of which young Watto copied the work of Rubens, Wang Dequee and other famous Flemish painters. Study of the young man lasted for a short time, the lessons of the booster were a little given a novice artist, but prompted him to more serious painting.

Paris

Approximately in 1700 Watto goes to Paris, having no means for existence, nor patrons. There he begins to work in a small workshop located on the notre lady bridge. Its responsibilities include the manufacture of cheap images on religious themes and copying other people's paintings. The work was paid poorly and, moreover, was boring and exhausting.

In 1703, fate drives Watto with the Mariett family - the Merchant works by Pierre and his son, a famous collector of Dutch painting, Jean. Visiting them, the young artist to get acquainted with the works of Titian, Rubens, Mystol, Picara and Callo, who became its first sources of inspiration.

Teacher

With one of these visits to the house of Marietta, Watto meets with his first real teacher - Claude Hillo and in 1703 a young artist begins to work in his workshop. In the works of hillo, images of scenes from everyday rural life, gallant and theatrical motives prevailed. This topic has become close and for Watto, contemporaries noticed the extraordinary similarity of the works of both artists, which probably led to a gap between them in 1708.

From 1708 to 1709, Jean-Antoine works as an assistant from the decorator artist Claude Odran, who became his second teacher. Much of time, Watto devotes ornamental paintings, which later affected the style of his mature work, giving them characteristic accuracy and ease.

Odran was the keeper of the collection of painting of the Luxembourg Palace, and his student got the opportunity to get acquainted with the work of great painters of that time.

Formation of Watto as a painter (1709-1716)

Working with Odranom, the young Jean-Antoine understands that he must be implemented independently. For this, he enters the Academy of Arts and is trying to receive the Grand Prix at the competition. But, who was disappointed with the second place, which took his work, in 1709, Watto comes to his homeland in Valencienne.

In 1710, the artist returns to Paris already as a recognized and mature master. Battle painting prevails in his works, very popular among the participants of the Flemish war. It is the military topics that brings Watto first fame.

At the beginning, on return, the artist settles from his testing of Siraua, engaged in trading with paintings and ram. Through it, Watto makes acquaintance with Pierre Croze. The Millionaire of the Craza, who held the post of royal treasurer, was a connoisseur of arts and a patron. In 1714, he provided an artist's estate in Naban-sur-Marne. Here all the conditions for creativity were created, and Watto could safely work, without thinking about finding means for existence.

Late Creativity (1716-1721)

This period of time was the most fruitful for Watto. The artist often moves and lives in turn in Siraua, Crosa, Jora, Flegels. Contemporaries notice that after some time he began to be any apartments in which he lived.

In 1917, Watto becomes a member of the Royal Academy of Painting and Arts. And from the end of 1719 to summer 1720, he visits London, where he holds meetings with French artists. In the UK, Jean-Antohan works a lot, and his works are successful.

The last year of his life, the artist is spent in Naban-sur-Marne in the society of close comrades: Zersen, La Rock and Pathen. In this estate he died on July 18, 1721.

Antoine Watto (Jean Antoine Watteau) is a great French artist. It is considered one of the founders of Rococo style.

Antoine Watto was born on October 10, 1684 in the city of Valencienne, France. Around 1702 moved to Paris. For a long time, worked as a copy of paintings. He studied in such artists as Claude Hillo and Claude Oder. Creativity had a great influence on his painting. At first, he wrote pictures of the battle genre, but then it was more and more to pay attention to genre scenes.

The works of Antoine Watto are imbued with a special mood, a theater game, irony and lyrics. Characteristic elements for Watto paintings are expressiveness of poses and gestures, tender combinations of colors. Unlike paramedical art, which was most in demand in the XVIII century, his paintings were quite simple and from that extraordinary charming.

Antoine Watto Creativity Researchers emphasize the undoubted influence of Rubens art on the artist's style. Special colorful feeling makes his paintings fabulous and chagging. Considering the pictures of Watto, it can be surprised at how easy and free to its painting. Brush artist simultaneously air and energetic. Clear images surrounds a special atmosphere, which contributes to contemplation. An outstanding colorist was able to convey the mood, emotionality and reverent excitement.

The Great French Artist Antoine Watto died on July 18, 1721 in the city of Kaban-sur-Marne, France. Despite the fact that the main creative period of Watto covers only 10-12 years old, he managed to create a lot of stunning masterpieces, who are today in the most famous museums of the world - the State Hermitage in St. Petersburg, the National Museum of Sweden, the Museum of Fine Arts in Boston, Dresden Gallery, London National Gallery, Museum Metropolitan in New York, Louvre and others.

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Pictures of Antoine Watto

Portrait of Watto (artist Rosalba Carrier)

Actors of a French comedy

Actors of a French comedy

Harlequin and Kolombin

Venetian holiday

Sign of shop Zersen

Difficult position

On October 10, 1684, a boy, who was called Antoine in the town of Valencienne in the family of Carpenter Watto, was born. His childhood is difficult to call happy, because the future artist had a rather complicated character and quite a lot of differences with the Father, who did not particularly understand the artistic hobbies of his son.

Despite this, an ordinary carpenter who was the father of Antoine allowed her son to become a student of the city artist Jacques-Alber-Brecen. Such art education made it possible to get the child the necessary skills to receive income. However, at the age of eighteen, in 1702, Antoine Watto left the father's house and headed straight to Paris.

Initially, Antoine settled on a rather heavy and, by the way, not very well paid by the copying officer. The money he earned, he was barely enough for food.

His life made a steep turn when in 1703, the young artist met Claude Most. He saw an unusually talented artist in Antoine and offered him training. From 1708 to 1709, Watto was a student of Claude Odran and it was a close communication with these outstanding artists developed in it of interest in the theater and decorative art.

Creativity Watto

Rubens paintings had a huge impact on many artists, and Antoine Watto did not exception. He learned his work at the Luxembourg Palace. One of the desires of the artist was to visit Rome and, for the sake of this, he was able to enter the Art Academy.

However, Paris returned his already mature and experienced artist in 1710. A large number of Antoine works are devoted to military topics. One of his most prominent work- "Pilgrimage to the island of Cefera," was written in 1717 and brought Watto the unusual title of "artist of gallant festivals".

In 1718, Antoine wrote another, which became no less popular, the picture "Caprice". The action in the paintings of Watto is revealed not so directly the plot, but how much fine and slightly by a catchy poetchiness, which all his work is impregnated. This artist became the father of the genre, which is usually called "gallant festivity."

The picture of the "Festives of Love", written in 1717, like many other paintings by the author, is impregnated with the range of emotional shades, it can be caught looking at the landscape painting background. Antoine Watto became the discoverer of the artistic value of fragile and slightly catchy nuances and feelings. His art for the first time, so to speak, felt the discrepancy, or the disorder, dreams and reality. Very often, it is noted the seal of the melancholic sadness, which it sees.

Already at the end of 1717, the artist fell in mortal, for those times, tuberculosis disease. The disease was able to penetrate into his paintings. Watto tried to fight this and specially visited the UK at the end of 1719 to change the situation and climate, but this was not crowned with success. He spent his last days in a rustic house of his good friend and died on July 18, 1721. He will leave about twenty thousand paintings for his descendants.

Antoine Watto was quite famous and lived in luxury. He did not value money and easily spread by them. The hairdresser looked at him by one day, offering a wonderful wig from a natural human hair. The artist was amazed: "What a beauty! What kind of naturalness! ".

Watto wanted to pay the hairdresser for his efforts, but he did not take money, and instead I asked only one or more sketches, if Antoine is not difficult. The artist with pleasure painted him sketches, but after the care of the hairdresser, nevertheless, could not calm down. Watto believed that he deceived the poor man.

A week later, his friend looked toward him. He saw that Antoine, despite all the orders, began to work on a new picture, which he wanted to give a hairdresser, because he still seemed to have deceived a poor fellow. A friend was worthwhile to convince the artist, but it was possible.

Jean Antoine Watto(Fr. Jean Antoine Watteau , October 10 (Christening Day) 1684, Valencienne - July 10, 1721, Shana-sur-Marne) - An outstanding French painter and draftsman of the beginning of the XVIII century, the ancestor of the new genre of "gallant festivals" (Fetes Galantes), who has become a prologue for the appearance of Rococo style in the European art art.

Features of the artist of Antoine Watto artist. He became the first (and in value, and in chronology) by the artist of time, which is called the "Galant Century" or, by a member of the Poem, Valery Brysov, "Century of Jewel Marks". The frivolous ladies and their scattered holders, melancholic musicians, street merchants and actors are the Heroes of Watto, which he depicts with all sorts of grace and sophisticated psychologism, but without the shade of rude exposure, characteristic of genre painting. Watto paintings are not so many narrative as atmospheric - the mood in them is more important than the plot, the subtext is more important than intrigue, emotion is more important than action. The feeling of the mumbety and the shortness of happiness, the crested sorrow makes talk about "Melancholic realism watto". Watto drawing is always easy, dynamic, its lines are whimsical and melodious. Watto first identified a rockey color gamut: avoiding contrasting combinations and local colors, he preferred rich, complex and sophisticated-sophisticated concells of shades, made multi-layer lescing, created a special flickering texture. Despite the rejection and misunderstanding by many contemporaries and the closest descendants (Didro stated that "Ready to give a dozen watto for one shades", and French students of the end of the century, who preferred the heroic painting of Jacques-Louis David, once threw the Watto cloth with bread balls), now the creativity of Antoine Watto is recognized as one of the tops of the art of the XVIII century; As a draftsman and a colorist, he was ahead of his time - the influence of Watto is not only in painting of his compatriots Bush and Fragonar, but also at Hogarth, Reynolds, Goya, romantic artists.

Famous pictures of Antoine Watto: "Accommodation", "Metscete", "Caprician", "sail to the island of the Cite", "Zersen's shop".

In mid-July 1721, in one of the houses of the Paris, 36-year-old Chakhhotochi was died with a 36-year-old Sur Marne. He lay on bed in a country house of a certain Mr. Lefevra, a dark person, known in the circles of Paris, known as the "organizer of the small pleasure of the king." Common friends brought the patient on the eve of at night, and the worldwide Lefevr realized: not a tenant! On pale, with a novel, the face was characteristic, unnaturally bright blush. "As if theatrical makeup!" - Unwittingly thought Lefevere, recarridious kolombin, Metscetestees and Piero from paintings of his guests, known to all Paris.

Between the bits of exhausting tuberculous cough, friends were shouted with a dying communion. A rustic priest took a crucifix to his lips. "Remove! - hysterically shouted Antoine Watto (it was he who). - Your crucifixion hurts me! As you can so flat and roughly depict the Lord! .. "

Nervous, unrelated, sometimes cheerful, but still strange - Paris remembered Antoine Watto. It's amazing that this madman and Misanthrop had so many influential friends, and his paintings were stressed lightweight and idle character. To determine their unprecedented decar genre, I had to even invent a special name - "Galanta festival". But to assess the innovation of Antoine Watto, as an artist, only descendants will be able to evaluate. His genius will literally dream of romance and symbolists, Charles Baudelaire and Paul Velen. And Marcel Prunte will say that Watto and La Tour did for France more than all revolutionaries taken together.

Jean Antoine Watto Born in 1684 in the provincial town of Valencienne, famous for his amazing lace. His father Jean Philipp did not have a relation to the art, nor to the lace: he was a roofer, he worked for conscience, earned well and, it happened, drunk at the end of the work week, he was pretty fell by Michel's wife, who gave him four children. The incredible is that the father, the man is rough and the peep, the first to see the talent of Antoine.

The favorite class of Teen Watto was to sit on the city square with a pencil and draw stray actors who had fun crowd. In Valencienne was the municipality, and under the municipality, a regular artist, Jacques Geren, was listed. Father Watto gave his son to learn. It did not come out of this: it was trusted with a substruser, except that it was not possible to breed the paints, and the geron's shortness did not become. Watto conceived was to find a more suitable teacher. But here the father was opposed: how much can you hang on the square yes staring on comedians? Is it time to master the real male profession? Roofer, for example.

But Jean Philip Watto did not know that his son was no less self-balance and stubborn than he himself. Once, without warning anyone, Antoine went to Paris. He walked there on foot, and in his pockets looked wind. It seems that Watto expected the life of street tramp. And indeed, in my first capital year, the future of the royal style of the Royal Style Rococo spent almost all the time in the open sky, and from bad weather was hiding under the vaults of Notre Dame de Paris.

Around the cathedral were crowded mediocre godsas. For a reasonable fee, superstitious pilgrims bored saints there. Desperate to find a more decent job, Antoine Watto hired one of these shops. He came to write Nikolai the Wonderworker, the most commercially sought after saint, and then joked: "I studied his face that I could write Nicholas with closed eyes - for this I don't even need the original".

Three franc a week plus a daily bowl of soup - such was the income of the artist, and there was no laughter. But the case intervened.

Some miracle of the outline of 20-year-old Watto fell into the hands of the famous French Decorator Claude Hillo. They were so not like the masculine of artisans from the notre-lady bridge, that the place of his assistant suggested the place of his assistant. And Antoine, without hesitation, agreed: to paint theatrical scenery and decorate the city carnavals was in court. An experienced and successful hillo brought him to people, provided customers and acquaintances. But the day came when the teacher and the student collapsed to eat. The reason for the rupture is still unknown. All subsequent life both tried in conversations even not to mention each other's names.

Probably, the artist noticed that the hillo began to experience envy and criticize what he writes. Watto was demanding demanding, but did not tolerate someone else's intervention in what it does. Tell me once he gave his work to his friend. And when he began to argue that, from his point of view, would follow in the picture for maximum perfection, Watto grabbed a rag with oil and in the blink of an eye from the painting the entire colorful layer.

And yet Watto incredibly lucky with friends. After hinding, his patron was the hereditary painter and the keeper of the collection of the Luxembourg Palace Claude Oderman became. He attracted Watto to the design of royal residences in Versailles and Fontainebleau. And in the Luxembourg Palace, the artist got acquainted with a rare series of Rubens dedicated to Mary Medici. Watto loved Flemadse earlier, but Rubens shook him and "repailed." When another his friend, Abbot Nouraterr, visited the artist as a gift from Rubens, Watto experienced almost religious ecstasy: "I lost peace. My eyes are constantly looking for a picture that I erected to the easel, as on an anal ... "

And Antoine Watto passionately dreamed of falling Rome. For this, he even in 25 years, crossing over the pride and complexes, he was announced to participate in the competition for novice artists declared academy. Alas, he was addicted only to the Gold Medal. And Rome went Antoine Grison, who took the Grand Prix. More he will not be glorified by nothing - his name has kept the story only because he once went around the great Watto.
Antoine turned out to be in Paris in an era, which will be called as long as a lack of style later. The royal yard rapidly lost credibility and influence. The classicism of the XVII century emptied the Spirit. But what did it mean for artists?

Only the fact that it was necessary to build a new coordinate system, search for those ideas that could truly inspire. Heroic and Paphos no longer attracted anyone. The royal yard ceased to be a mod lawmaker. None of the artists wanted to become epigor of classicism. No one believed in "big ideas."

The resulting cultural life was shifted from palaces to the noble estates with their cute fun like domestic performances and intelligently interspersed with felt musication. "The unbearable ease of being" has become a symbol of the era. And she became the main theme of Watto's creativity. "Galanta festivities" - a new genre that opened the door for a new style - Rococo.

When after thirty Watto will be very rich, he will no longer think about Rome. Contrary to common sense and expectations of friends, rich, he went not in Italy, but in England. It was in Bohemian London Watto fully felt the taste of recognition. However, society turned out to be better than nature. Drozeny British climate exacerbated CHAKHOTKU. The disease progressed. Madly patient Watto returned to Paris.

Biographers bypass the master's personal life silence. There is almost nothing about it. In 2007, the French removed the exquisite and boring film "Mystery of Antoine Watto" about the estimated love of the artist to Actress Comedy Frances Charlotte Demar - a mysterious woman present on many Watto clutters and always depicted from the back.

But all his life, even being known and rich, Watto preferred to live "on the edge of someone else's nest." Arriving from England a year before death, it stops at the merchant the objects of art, there is some kind of gorsen. That was a shop with a loud name "Great Monarch". Watto himself volunteered to write a signboard for a shop. He worked in the morning, and after lunch, exhausted by the cough, rolled without his strength. Nevertheless, in a week later, the famous "Zersen's shop" appeared in the week - her picky Watto considered the best of all his paintings.
Zheren will be the first (and very tactful!) Biographer of her early deceased friend. However, we have already said that Antoine Watto's short life was surprisingly lucky with friends.

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, he studied the visual art of 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, but in the finest poetry, which they are penetrated. "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 a 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 theatrical plots very much, although he hardly 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 the feasible domination of the historic genre and allegorical scenes, Watto opened a variety of real types of French society of that 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 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; The virtuoso composite skill is the skill of the director, who suddenly stopped a superbly thoughtful theatrical action at the most important moment of dramatic development of the relationship and character 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 is distinguished by Watto drawings, usually sanguine or three colors (chalk, Sangin, Italian pencil) and captured a variety of types of French Society of 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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