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ANTOINE
WATTEAU In Watteau's work there is a reconciliation of the opposing Flemish and Venetian influences which divided the artistic world of eighteenth century France. Watteau's paintings also capture the elegant, capricious and superticially charming qualities of Rococo, a fashion which suited the early skills Watteau acquired as a painter of decorative interiors. Themes from the commedia dell'arte were a frequent source of inspiration to him. Watteau was remembered by his contem-poraries as a fast, messy and impulsive painter. His palette was rarely cleaned, his brushes were dirty and. as he painted, they dripped with oil from a pot full of debris, dust and paint particles. Speed was of the essence and much comment was made on Watteau's excessive use of oil which has left some of his paintings in poor condition. Watteau's contemporaries claimed to notice tonal discoloration and deterioration in the paint only a short time after Watteau had completed it. Watteau frequently made corrections and adjustments to his paintings which he often only thinly disguised. In the case of Fetes Venitiennes. most of these changes can be seen as easily with the naked eye as with infra-red photography or X-ray. Although Watteau was a prolific draftsman, there is almost a total absence of preliminary drawings or outline plans for his works. How-ever. Watteau kept hundreds of figure studies and landscape sketches in bound volumes. The models were often dressed in fancy or theatrical costumes and these supplied Watteau with motifs from which he developed many of his paintings. He arranged the figures in groups which were usually dictated by a landscape background. Sometimes such figure studies were used for more than one painting, and it is known that a few were portraits of friends. In Fetes Venitiennes the male dancer is known to be a portrait of a painter and friend, Nicholas Vieugels. and it is thought that the melancholy figure of the bag-piper may be a self-portrait. Despite the relatively poor condition of many of Watteau's paintings, Fetes Venitiennes is in exceptionally good condition and has only been minimally restored. In this instance, the artist's use of the excessively oily medium can be seen as a characteristic of Watteau's technique rather than a problem. Fetes Venitiennes is a typical later
work. The idealized garden shows beautifully costumed people dancing and
making music. The painting is on a plain-weave linen canvas which, when
sized, was prepared with a gray ground containing white lead. Watteau
made little use of the ground color or the canvas texture but applied
his paint alia prima. Its texture is most pronounced in the clouds, drapery
and flesh-painting, and the brusfm'ork is free and varied. The figures
were painted more precisely and the portrait of Vieughels, the dancer,
contrasts with the sketchy execution of the sculpted naiad. The tall trees
were thickly painted, and the dark colors built up in semi-transparent
layers with more restrained brushwork. Watteau's excessive use of oil
as the paint medium has caused the fine wrinkling in the paint layer and
the pronounced pattern of cracks in the dark green foliage. |
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