91 (as Watteau, The Garden Party, lent by Sir Richard Wallace). . Hauteur 4 pieds, largeur 6 pieds. }, Fête Galante in a Wooded Landscape with the Sculpture of a Seated Nude Woman, Paris, collection of Racine du Jonquoy (maître d’hôtel de Charles, duc de Berry, trésorier des ponts et chaussés, receveur général des finances pour la généralité d’Alençon ). A surprisingly large number of extant studies were used for the principal figures in the foreground of Les Divertissements champêtres. Duffy and Hedley The Wallace Collection Pictures (2004), 470-71. The musicologist Florence Gétreau has advanced specific and pertinent doubts about the correctness of the representation of the music. The picture is now lost but is known through an engraving by Bernard Baron (Watteau, exhib. Watteau travaille longuement la technique du paysage, qu'il arrive à traiter pour ... à Cythère (1718, Berlin, Charlottenburg), la Perspective du M. F. A. de Boston, les Champs-Élysées, les Divertissements champêtres, les Charmes de la vie et le Rendez-vous de chasse de la Wallace Coll. Print this Entry
They are explicable as copies from Les Divertissements champêtres, but the reverse could not have been true; they could not have been the models for the figures in Les Champs Elisées. In an encompassing manner, Vogtherr and Wile listed the painting as c. 1719-21. Watteau, Two Studies of Seated Women (detail), red chalk and graphite. (?) . Antoine Watteau, Les Champs-Ãlysses (detail), London, Wallace Collection. Both children in the left foreground of the painting can also be traced to Watteau’s drawings. The remaining woman in this group was taken from a drawing in a Parisian private collection (Rosenberg and Prat 468).Â. There he rests it on his companion’s skirt. That all three of these studies were used for the one painting seems to indicate that the drawing was made specifically for Les Divertissements champêtresâa rare moment when we can observe the painter’s working method.Â. Lausanne, private collection. « Tels qu’ils se présentent, baignant dans des fourrés, ces trois troncs humains ne sont liés par aucune complicité. Get this from a library! Watteau fête (dans un Parc (Divertissements Champetres), c.1718/20) Tableau sur toile Poster Tableaux Reproduction (10,9 x 16,1 l) : 28 x 41 cm: Amazon.fr: Cuisine & Maison sans bordure.”, Paris, collection of Baron van Balle. . One of three such studies on a single page (Rosenberg and Prat 507) was used for the man seated on the grass, to the left of the group. function myFunction()
71 po. For copies of Les Divertissements champêtres CLICK HERE. Together with Le Rendez-vous de chasse (lot 452), the pendants were sold for an amount that has been variously given as 5,000 francs; 35,000 francs (according to Hédouin); also 13,000 francs. Posner, Lady at Her Toilette (1973), 79-80. Watteau, Study of a Standing Man, red, black, and white chalk, 28.2 x 17.9 cm. Spielmann, The Wallace Collection (1900), 59. Â. Watteau, Four Studies of Hands, red, black, and white chalk, graphite, 15.3 x11.4 cm. London, British Museum. Watteau, Studies of Three Hands (detail), red and black chalk, graphite. As has been noted, Les Divertissements champêtres is closely related to a painting with essentially the same composition, namely Les Champs Elisées. . 1). If you have chosen a Canvas Print of "Evening Landscape with Spinner" by Watteau without a frame, it shall be ready for shipment within 48 hours. Fête in the Garden of St. The recumbent man has been partnered with a seated woman, but it is an awkward juxtaposition, for as a result the man seems to be pressing or staring into his partner’s shoulder. In contrast, the comparable figures in Les Champs Ãlisées, the smaller version of this composition, are just blurs of paint and forcefully establish the priority of Les Divertissements champêtres. . Amusements Champêtres: Une nombreuse société s’est disséminé sur les délicieux tapis de verdure qu’obragent les grands arbres d’un parc. 2 Jean Antoine Watteau, Divertissements Champêtres, v. 1718, Londres, Wallace Collection. Jean Mairet, Les Galanteries du duc d’Ossonne, vice-roi de Naples, Comédie, Paris, Rocolet. Comment … The woman originated in a charming study in the Courtauld Institute (Rosenberg and Prat 451). Ici, nous avons de plus, le musicien debout, les trois enfants et la femme en robe jaune, à l’extrémité de gauche; c’est justement la figure qui accuse le mieux le style, la couleur et l’exécution de Watteau. Although partially hidden by tree trunks, enough of the woman can be seen to determine that she is traceable to a drawing in the Musée Cognacq-Jay (Rosenberg and Prat 446). Fête in a Park. On peut assurer qu’il n’existe rien de plus beau ni de plus capital de ce Maître; la finesse du dessin, la beauté inimitable du coloris sont au-dessus des éloges. window.print();
}. But after they found no buyer, de Morny sold Les Divertissements champêtres separately to the marquess of Hertford. Dans un parc, à l’ombre des arbres et au son de la vielle, deux amants en costumes simples et galants se livrent au plaisir de la danse, tandis que d’autres causent intimement à l’écart.” Sold for 285 francs. Thenceforth he lived in seclusion and solitude. 268, 269333, 446, 447, 467, 468, 507, 527, 528, 587, G32, R558. His sale, Paris, April 27, 1793, lot 35: ANTOINE WATTEAU . Dans des décors champêtres à la végétation luxuriante, Watteau met en scène le sentiment amoureux : danseurs, belles dames ou bergers s'adonnent à des divertissements ou à des confidences. From the Collection of Cardinal Fesch. T. Ils viennent de la vente de M.***, lundi26 novembre 1787, no 59: vendus 4800 liv. . Macchia and Montagni, L’opera completa di Watteau (1968), cat. Le Coat, "Watteau et l'imaginaire social" (1987), 183. London, Wallace Collection. Paris, with Jean-Baptiste Pierre Lebrun. Paris, January 30, 1845, lot 5: “WATTEAU (ANTOINE) . London, Wallace Collection. Bequeathed to Lord Hertford’s illegitimate son, Richard Wallace,1st Baronet, and then by descent to Wallace’s widow, Julie Amélie Charlotte Castelnau, who donated the collection to the nation in 1897. François Boucher after Watteau, Study of a Young Girl, engraving, Figures de différents caractères, plate 85. Paris, Musée Cognacq-Jay. Yet it then seemingly disappeared and it was apparently was unknown to Edmond de Goncourt and his contemporaries. Ils représentent des points de vue de forêts, et nombre de personnages dans le costume du tems. The hand holding a cane at the lower right of the drawing was employed for the man standing at the right of the painting. Le costume de nos deux belles est à la fois riche et gracieux; leurs robes sont de soie; et l’une d’elles porte encore par dessus une sorte de peignoir sans manches, ou pelisse longue également en soie. {
WATTEAU ou WATEAU (Jean-Antoine), peintre français, né à Valenciennes le 16 oct. 1684, mort à Nogent-sur-Marne le 18 juil. Of the two, Les Champs Elisées is much smaller, approximately one-fourth the size of Les Divertissements champêtres. 1802, lot 172; “Watteau (Antoine) . Watteau, Les Divertissements champêtres. Cohen, Art, Dance, and the Body (2000), 242-47. Les Divertissements champêtres (copy 1) Denison, Christopher Beckett . Nous les avons achetés ci devant 10,000 liv. The history of Les Divertissements champêtres is closely bound to Le Rendez-vous de chasse.  Â, Paris, collection of Horsin Déon; sold to the duc de Morny for 60,000 francs.                   Â. Paris, collection of Charles Auguste Louis Joseph, duc de Morny (1811-1865; statesman). Ici des cavaliers content fleurettes à des dames assises sur l’herbe, plus loin une Musette et un Haut-Bois règle la cadence; à droite des enfans harcellent un chien, et jusques dans l’extrême lointain on distingue des personnages . La Chute d'eau, Scène galante. Many of the figures in the background can similarly be traced to Watteau’s drawings. Six of the seven adults in the foreground of Les Divertissements champêtres have counterparts in Les Champs Elisées. Only the figure at the left of this group is different: the figure is female in Les Divertissements champêtres, male in Les Champs Elisées. 183. In 1852 de Morny put Le Rendez vous de chasse up again at auction, where it still went unsold. 1636 1636. Overall, this drawing shows Watteau's skill as a draughtsman, He was greatly admired by his contemporaries, including followers and collectors. The children at the left sides of the composition are totally different, as are the statues at the right and some of the small figures in the background. When Le Rendez-vous de chasse was engraved c. 1731 for the Jullienne Oeuvre grave, the caption stated, ”Ce tableau est dans le Cabinet de Mr Racine du Jonquoy,” and it is reasonable to assume that he was also the owner of the pendant, Les Divertissements champêtres. La finesse du dessin, la beauté inimitable du coloris sont au-dessus des éloges.âHauteur, 4 pieds; largeur, 6. . Deux Tableaux, l’un sujet de retour de chasse à l’entrée d’un bois . Larg. It was a pity that Waddesdon had not lent for comparison the pendant (the attribution of which to Watteau was also once questioned – by Ellis Waterhouse – probably unjustifiably) [5]. Antoine Watteau, Les Charmes de la vie (detail), London, Wallace Collection. Son manteau de velours violet entoure gracieusement sa taille et son large pourpoint; il porte une toque de velours bleu, et sa main droite vient avec grâce se poser sur sa hanche. T.” Sold for 1,250 francs to Charles Simon for cardinal Joseph Fesch. Watteau left his rich patron out of a desire for freedom, although he remained his friend. Il porte des culottes courtes, un tes, un petit manteau de soie noir sur l’épaule gauche, et une fraise au cou; sa têle est coiffée d’une toque de velours rouge. Vers l'âge de dix ans, il fut mis en apprentissage chez J.- Private collection. . Whittingham, “Controversial Treatment” (2011). Waagen, Treasures of Art in Great Britain (1854-57), 2: 156. Divertissement champêtre. Gétreau, “Watteau et la musique” (1987), 243-44. The intriguing question, of course, is which version was executed first. Grasselli, Drawings of Watteau (1987), 356-59. Edwards, “Watteau and the Dance” (1987), 222-23 n. 25. Thus, the pendant paintings were reunited. / £10,000-15,000”. When Les Champs Élisées was sold from the de Morny collection in 1848, it … Not least of all, the Chantilly painting corresponds to the Nicolas Tardieu engraving in the Jullienne Oeuvre gravé whereas Ferré’s painting has no such supporting documentation. They were briefly separated when they were in the collection of the duc de Morny. It was at that time, when Watteau created his masterpieces "Conversations", "Divertissements champêtres" and "Fêtes galantes". Mais sur un point au moins les figurants maussades ont été unanimes : le moindre effort sera le bon. [Christoph Martin Vogtherr; Mary Tavener Holmes; Antoine Watteau; Jean-Honoré Fragonard; Musée Jacquemart-André,;] -- "De son invention par Antoine Watteau (1684-1721) aux brillantes fantaisies de Jean-Honoré Fragonard (1732-1806), le genre de la Fête galante va traverser tout le XVIIIe siècle. His sale, Paris, April 11, 1791, lot 196: “ANTOINE WATTEAU . Paris, January 30, 1845, lot 5: “WATTEAU (ANTOINE) . Roland Michel, Watteau (1984), 89, 160, 198, 204, 210, 221, 229-30, 270-71. London, British Museum. Presque à ses pieds, un jeune cavalier, dont le costume parfaitement analogue au sien n’en diffère que par la couleur, est étendu sur l’herbe auprès d’une jolie personne qui, assise et légèrement penchée vers lui, l’écoule avec un certain embarras que trahit son regard baissé, autant que le mouvement de l’éventail qu’elle fait jouer dans ses mains. At recent appearances at auction its attribution was sensibly downgraded to “a follower of Watteau.”. Deux Tableaux: l’un représente un repos de chasse à l’entrée d’un bois . At a third auction, this in 1865, the painting was bought by none other than the marquess of Hertford! Watteau, Study of a Woman Seated on the Ground, red and white chalk, 14.6 x 20 cm. cat., Washington and elsewhere, 1984-5, under no. 402 (Antoine Watteau, Picnic Party, lent by Sir Richard Wallace). His sale, London, Phillips, June 20, 1848, lot 101: “WATTEAU (Antoine) Les Champs Elysées. that developed from it.“ Likewise, Whittingham wrote that Watteau painted Les Divertissements champêtres “mechanically,” and described it as “an enlarged version of the much more pleasing ‘Les Champrs Elisées.’”. Les Divertissements champêtres. Chez chacun d’eux la mollesse est de nature différente. Complicating matters still further, the 4th marquess of Hertford bought both the small and the large versions of the composition, and the two are now in the Wallace Collection. London, Sotheby’s, April 17, 1991, lot 53: “Follower of Antoine Watteau/ FETE GALANTE/ oil on canvas/ 65 by 81.5 cm. and the large composition Country Amusements . However, Jullienne commissioned an engraving after Watteau’s smaller version of the same composition, which he published under the title Les Champs Elisées, but this has caused additional confusion. The vielle player at the center of Divertissement champêtre reveals everything. The seated figure was used by Watteau in two pictures, Les Champs Elysées and Divertissements champêtres (M. Roland-Michel, Watteau.   Les arbres sont vivement peints en décoration, le ciel léger avec des nuages argentés; partou/t une belle pâte, une touche spirituelle et une couleur pleine de variété.”
. Paris, with Joseph Guillaume Godefroy Colomb Emler. In the twentieth century it was not cited by Dacier, Vuaflart, and Hérold, nor by Réau or Adhémar, nor by Macchia and Montagni. Antoine Watteau, Le Plaisir Pastoral, Chantilly, Musée Condé. Vaduz, private collection. London, Royal Academy, Old Masters (1889) cat. Despite this unanimity of opinion, after the laboratory examination of the paintings around 2010, Christopher Vogtherr noted that x-rays uncovered many pentimenti in Les Divertissements champêtres, and the relative absence of pentimenti in Les Champs Elisées.     Au second plan, on remarque d’abord douze personnes réunies en un seul groupe: ce sont les deux musiciens dont l’un joue de la vielle, et l’autre de la clarinette; quelques paysans; de jeunes élégantes du genre des premières, avec leurs cavaliers, et enfin les deux danseurs dont nous avons parlé.
Une autre jeune dame, assise à côté d’elle, attache à son corset une rose que vient de lui offrir une jeune personne agenouillée devant elle, et qui, chargée d’une corbeille pleine de fleurs, semble avoir mission d’en distribuer à toute la société. Washington, Paris, Berlin, Watteau 1684-1721, under cat. Dans un parc, à l’ombre des arbres et au son de la vielle, deux amants en costumes simples et galants se livrent au plaisir de la danse, tandis que d’autres causent intimement à l’écart.” The histories of the two paintings were separate until the late nineteenth century, at which time each was bought by Lord Hertford and now both are housed in the Wallace Collection. 3 and passim. The expression on his face and his awkward contrapposto pose warn us against attaching Watteau’s name to the painting. Dacier, Vuaflart, and Hérold, Jean de Jullienne et les graveurs, 2: 35, 96; 3: under cat. . Adhémar proposed the end of 1716; Macchia and Montagni, Roland Michel, and Glorieux, suggested 1718; Posner opted for 1719-20; Börsch-Supan believed it should be dated c. 1720; and Brookner dated the painting still later, c. 1720-21. London, Wallace Collection, Catalogue of the Oil Paintings (1904), cat. His sale, Paris, October 30, 1809, lot 37: “Wateau (Antoine) . function myFunction()
Cailleux, “A Strange Monument” (1975), 246-47. Zimmerman, Réau, and most early scholars have presumed that Les Divertissements Champêtres was an enlarged replica of the smaller painting. Sold privately to Sir Richard Seymour, 4th Marquess of Hertford, prior to 1852 as noted on page 5 of the introduction to the May 24, 1852 catalogue of the duc de Morny’s collection in Paris. There is consensus that Les Divertissements champêtres was executed late in the artist’s career, but an exact date remains moot. . At the same time, he reversed the directions of the other figuresâthe recumbent man in the foreground, the overly amorous couple behind, and the man pushing the woman on the swing. London, Wallace Collection, Catalogue (1920), cat. AMUSEMENTS CHAMPÊTRES Amusements champêtres (copies) AMUSEMENTS DE CYTHÈRE Amusements de Cythère (copies) ARLEQUIN, PIERROT ET SCAPIN Arlequin, Pierrot et Scapin (copies) ASSEMBLÉE DANS UN PARC: ASSEMBLÉE GALANTE Assemblée galante (copies) ASSEMBLÉE PRÈS D’UNE FONTAINE DE NEPTUNE: ASSIS, AUPRÈS DE TOY Assis, auprès de toy (copies) . 2015 - Les Champs Elisées (Divertissements champêtres). - L. 6 p. 0 p. 0 1.”
Rome, collection of Cardinal Fesch, 1841 catalogue of his collection, cat. In 1719, Watteau left for London, where his works were in great demand and where he also wanted to consult a famous physician about his … Watteau, Studies of Three Seated Women (detail), red and black chalk, graphite. Dinelli-Graziani, “Le cardinal Fesch, amateur” (2007), 42-43. The hand drawn palms down was used for the man at the lower right of the painting. In 1975 the two large oils at the Wallace, “Divertissements champêtres” … .
The child with a cap in Divertissement champêtre may be a variation of one in Watteau’s Champs Ãlysées. The kneeling child, seen from behind, was taken from a drawing in the British Museum (Rosenberg and Prat 333). .  A droite, un homme, vu de face, en veste et culotte violette, danse, en tenant la main d’une femme vêtue d’un beau jupon jaune. There evidenly has been a growing tendency to place the painting in Watteau’s very last years. Sa voisine montre un début de bonne volonté. Once the solutions were established, he carried them over to the second, smaller version. If, however, you have decided to take a framed art print, then the process of printing and framing will take around 6 or 7 days. ; 25 ¾ by 32 in. Fête galante mit Musikierenden an einer Dionysosbüste. C’est le centre de la composition. Engraved. Watteau, Les Divertissements champêtres (detail). Watteau (Fete in a Park (Divertissements Champetres), c.1718/20) Canvas Art Print Reproduction (10.9x16.1 in) (28x41 cm) by TOPofART Available from these sellers . Watteau, Study of a Child Seen from Behind, red chalk, 13.3 x 10 cm. Bayonne, Musée Bonnat. While the study for the man at the left of the group has not survived, the woman next to him, seated on the ground and holding a basket of flowers, was based on a study of a seated woman holding a large bowl, one of two figures on a  sheet in a private collection (Rosenberg and Prat 527).
T.” The pendants sold for 4,800 livres. . Racine du Jonquoy’s ownership of Les Divertissements champêtres is only by implication: when the pendant painting, Le Rendez-vous de chasse, was engraved in 1731 for the Oeuvre gravé, it bore the legend ”Ce Tableau est dans le Cabinet de Mr Racine du Jonquoy.”. At the left side of the background group, a couple walks into the composition. The Rest, c.1709 Oil Painting Reproduction Jean Antoine Watteau (1684-1721) Location: Thyssen-Bornemisza Museum Madrid Spain Original Size: 32 x 42.5 cm Some of the differences between the two versions are telling in other ways, for they reveal the hand of a pasticheur. It should be noted that several listings of the provenance of Les Divertissements champêteres, including the Wallace Collection’s various compilations, err in the manner that they cite the 1852 and 1865 sales. 27 (Watteau, Fête Champêtre, lent by the Marquis of Hertford). 3 avr. De beaux cheveux d’un blond cendré sont relevés sur le sommet de leurs têtes sans autre ornement. London, Courtauld Institute Galleries. En dépit des connotations pastorales ou rustiques sous-entendues par l’expression de « fête champêtre », cette forme de divertissement particulièrement populaire sous la forme de garden-partys à la cour de Versailles, où les parties du parc destinées à accueillir ces festivités étaient aménagées avec des folies, pavillons et … Watteau left his rich patron out of a desire for freedom, although he remained his friend. Paris, collection of Alexandre Louis Roëttiers de Montaleau(?). London, British Museum. Danse au milieu d’un parc. Watteau, Two Studies of Women (detail), red chalk and graphite. . A une certaine distance de ce cavalier, deux petites filles jouent sur le gazon avec un beau chien danois qu’elles conduisent à l’aide d’un ruban. P66, fig. Paris, private collection. Watteau, Les Divertissements champêtres, oil on canvas, 127.2 x 191.7 cm. éditée en 1799 par Pierre Siméon Caron. Several studies of hands have been associated with these foreground figures. She noted that both the horn and the hurdy gurdy are being played improperly, whereas Watteau was inevitably correct in depicting musicians performing. Although they were painted rapidly and with less detail than their counterparts in the foreground, nonetheless, their specificity is remarkable. Une fête champêtre était une forme de divertissement populaire au XVIIIe siècle . His conclusion was that the former picture was executed first, and in it Watteau resolved problematic areas. Watteau, Les Divertissements champêtres. window.print();
Mais six autres groupes animent encore l’immense étendue du bois, et, par la diversité de leurs costumes et de leurs poses, forment avec les masses de feuillage et de verdure qu’ils coupent en tous sens, le plus délicieux contraste. The pasticheur borrowed all the figures seen at the right side of that celebrated painting, not those in the foreground but, rather, those in the midground. London, Wallace Collection.   Cette charmante composition, analogue au tableau de M. le marquis Maison, en diffère cependant par le nombre de personages et les accessoires. Les Divertissements champêtres. As has been noted, Les Divertissements champêtres is closely related to a painting with essentially the same composition, namely Les Champs Elisées. Ils ont été vendus en vente publique 10,000 liv. fig. Because Les Divertissements champêtres was not engraved for Jean de Jullienne’s Oeuvre gravé, its title has varied considerably. The pair at the top of the page was used for the rightmost woman; the fan that she holds is barely indicated in the drawing. . l’autre offre la vue d’un parc, orné de différens grouppes d’hommes, de femmes & d’enfans, les uns sont en repos, d’autres s’occupent avec des fleurs, tandis que plusieurs amusent à danser.  His sale, Rome, Palazzo Ricci, March 17-18, 1845, lot 453: “[WATTEAU (ANTOINE)] . . The pasticheur has also appropriated the figure of a child playing with a spaniel from another of Watteau’s paintingsâeither from Le Concert in Berlin or the closely related Les Charmes de la vie in the Wallace Collection. XVII. London, Wallace Collection. Private collection. Four studies of hands in a private collection (Rosenberg and Prat 524) also served for this painting. It was outrightly rejected by Cailleux and other critics. . L’autre représente, dans l’intérieur d’un parc, près de quarante figures, hommes, femmes & enfans, les uns sont en repos , d’autres s’occupent avec des fleurs, tandis que plusieurs dansent.
General wisdom maintains that a small painting precedes a large version. Rosenberg and Prat, Watteau, Catalogue raisonné des dessins (1996), cat. Watteau (and Pater), Studies of a Recumbent Man and a Man’s Head (detail), red chalk, red and gray-green wash. Munich, Staatliche Graphische Sammlung. Since the early eighteenth century the two paintings have passed together from one collector to another as acknowledged pendants. L’un est gravé sous le titre des Amusemens champêtres, l’autre sur celui du Retour de chasse. Watteau, Les Champs Elisées, oil on walnut panel, 31.4 x 40.6 cm. L’autre porte son plumage autour du coup et sa dentition sur la tête. Spain, private collection, prior to 1970. A travers de grands arbres, on découvre dans la campagne une belle fabrique qui par son voisinage, parait être dépendante du parc
Anonymous artist, Divertissement champêtre. London, Wallace Collection. Edwards, “Watteau and the Dance" (1987), 222-23. Toward the center background of the painting, a couple relaxes on the ground, she with a shawl over her head, he recumbent and extending his arm in a mannered gesture behind him. Le charme du lieu et les joyeux accords d’une musique champêtre semblent convier les plus jeunes à la danse; cependant, jusqu’ à présent, un seul couple a cédé à cet attrait et foule l’herbe en cadence: presque tous donnent la préférence à la promenade ou à la conversation.