Actors of the Comédie-Française

Coquettes qui pour voir is the name commonly given to an oil on panel painting in the Hermitage Museum in Saint Petersburg, by French artist Jean-Antoine Watteau, the leading painter of the Régence era and a pioneer of the Rococo style. Completed in the 1710s, it forms a half-length group portrait, possibly the rarest case in Watteau's body of work, and has been given various interpretations; some scholars believe it to be a depiction of commedia dell'arte masks, while some others believe it to be a depiction of members of the Comédie-Française. Because of that, the painting has been known under a number of various titles; its traditional naming in Western scholarship, Coquettes qui pour voir, is derived from anonymous verses which the painting was featured with in Jean de Jullienne's four-volume collection of engravings after Watteau's works.

Coquettes qui pour voir
Actors of the Comédie-Française
ArtistJean-Antoine Watteau
YearBetween 1711 and 1718
Mediumoil on panel
Dimensions20 cm × 25 cm (7.9 in × 9.8 in)
LocationThe Hermitage, Saint Petersburg
AccessionГЭ-1131

By the middle of the 18th century, Coquettes belonged to Louis-Antoine Crozat, Baron de Thiers, a nephew of the Parisian merchant and art collector Pierre Crozat; after his death in 1770, the painting, along with a most part of the collection he owned, was acquired for Catherine II of Russia in 1772. Since then the painting was held among the Russian imperial family collections in the Hermitage and, after the 1850s, in the Gatchina Palace; in 1920, it was transferred to the Winter Palace, where it currently remains as part of the Hermitage Museum permanent exhibition. In Russian literature, the painting is currently known as Actors of the Comédie-Française,[lower-alpha 1] following studies of Watteau's drawings that established a possible identity.

Description

Composition
"…Watteau combines portraiture with a striking feeling for the picturesque. The rounded, resilient brushstrokes seem to have benn applied with the lightness of spontaneous improvisation, yet at the same time with a bold precision which only a mature master could command. The faces, showing fatigue, animation and faint anxiety, are illuminated by a mysterious theatrical light, the fantastic costumes shimmer with wine-pink tones against the black velvet of the masks. All this creates an impression of the natural unity of the imagined and the actual, a Hoffmannesque world where the characters’ reality in only enhanced by the strangeness of their surroundings."

—Mikhail German on Actors..., in a 1980 artbook Antoine Watteau.[13]

Actors ... is an oil on panel painting upholstered in wood, and measures approximately 20 by 25 cm.[14]

In the painting, Watteau depicts five figures in half-length, standing around a stone balustrade. To the right, an outwardly old man stands upon a stick and holds a mushroom hat, dressed in a skullcap. By the balustrade's other side, a young girl is shown in a light-colored striped dress with high standing collar, standing behind a black boy in green-striped clothes. Over the girl's shoulder, a man's head appears in a large motley beret. To the left side, a young woman turned to the right in profile, appears in a Polish-styled red dress and white chipper, leaning on the balustrade and holding a black mask in the right hand.[15]

Defects found on the panel include a restored crack to the right of the old man's cape; gaps in shadows, more importantly at the bottom edge and around the girl's head; chippings painted over the girl's left shoulder.[15] An X-ray analysis published by Soviet scholars in 1973 revealed changes in the composition showing that in the early stages the woman at the left was bareheaded, wore a different costume, and had placed her mask on the balustrade. The several differences between the painting and the engraving, notably in the coiffure of the central female figure, are considered relating to the state of the painting, which has been somewhat damaged and restored in the past.[16]


Identity of subjects

Until the middle of the 20th century, sources and studies on Watteau variously defined the work's subject. In notes to Pellegrino Antonio Orlandi's Abecedario pittorico, Pierre-Jean Mariette referred to the work as Coquettes qui pour voir galans au rendez vous (transl. "Coquettish women, who to meet gallant men go around..."), after the first verses of quatrains accompanying Thomassin's engraving for the Recueil Jullienne; Mariette thought the panel depicts "people in disguise for a ball, among whom is one dressed as an old man."[17] François-Bernard Lépicié refers to the composition as Retour de Bal in a 1741 obituary of Henri Simon Thomassin, believing the figures to be returning from a ball;[18]:569[19] in contrary, Catalogue Crozat of 1755 and Dezallier d'Argenville fils described it as a depiction of masked figures preparing for a ball.[20][21]

Later sources, more prominently in France and Russia, similarly had various definitions on the subject: Johann Ernst von Munnich refers to the work as Personnages en masques (transl. "Characters in Masks") in the two-volume catalogue of the Hermitage collection;[22] the Hermitage's 1797 catalogue features the title The Mascarade,[23] whereas the 1859 inventory registry features only the work's description—"two women, talking with two men, and a negro beside them".[24][25] In his writings, Pierre Hédouin referred to the work as Le Rendez-vous du bal masqué,[26] before Edmond de Goncourt's Catalogue raisonné... introduced the Mariette-mentioned title into common use.[27]

In an 1896 article published in Gazette des Beaux-Arts, Gaston Schéfer presumed that Coquettes is probably composed out of portrait sketches and that the lady in red is the French actress Charlotte Desmares,[lower-alpha 2] based on comparison of the composition with Lepicié's engraving of her portrait by Charles-Antoine Coypel;[30] Later in the early 1900s, French author Virgile Josz presumed the painting to be a depiction of commedia dell'arte masks, with the old man as Pantalone, the women as Rosaura and Isabella, and the young man as Scapino;[31] in later years, these points were adopted by a number of scholars[lower-alpha 3] Josz's contemporary Louis de Fourcaud considered figures to be "a family group dressed for an elegant masquerade," painted after material from sketchbooks.[37]:144[38]

In her monograph on Watteau published in 1950, Hélène Adhémar identified the lady in red as Charlotte Desmares, similarly to Schéfer; Adhémar's point was furthered in Karl Parker and Jacques Mathey's 1957–1958 catalogue of Watteau drawings; they concluded that the old man could be another Comédie-Française player, Pierre Le Noir.[lower-alpha 4] In the Soviet Union, the Hermitage staff member Inna Nemilova supported these points, and also concluded the young man to be Philippe Poisson.[40][41] In addition, Nemilova pointed out Desmares could be possibly depicted by Watteau in both versions of The Embarkation for Cythera, and also other canvas[lower-alpha 5] and various drawings.[42]

Authorship and dating

Authenticity of the panel has never been seriously questioned until the early 20th century, when Russian scholar Nicolas Wrangel considered it a copy by Philippe Mercier, a prominent English follower of Watteau; in a letter to Ernst Heinrich Zimmermann, a German scholar who compiled an album and catalogue of Watteau's work, Wrangel pointed out that the blond actress lacks the coiffure seen in Thomassin’s print, and there are also differences in the actor at the right.[43] On the Russian fellow's advice, Zimmermann chose to classify it among the "doubtful pictures".[44][45] In the early 1970s, the panel's authenticity was questioned in the four-volume survey edited by Jean Ferré that, based on Wrangel's doubts and inconsistency found in contemporary sources, included the work among "attributed to Watteau."[46][47] Later studies have ruled possible doubts out, given the work's condition as well as preparatory drawings and Thomassin's print; in the 1960s, Nemilova presumed Wrangel have been led to his conclusion because of the work's presence in the Gatchina Palace;[48] much later, Martin Eidelberg adds that Mercier could not paint with the same characteristics and artistic level Watteau had.[43]

Dating of the painting remains somewhat imprecise.[12] In 1950, Adhémar attributed the work to the period from Spring to Autumn of 1716.[49] In a 1957 book Great French Painting in the Hermitage, Charles Sterling[50] suggested a 1716–1717 dating, while in 1959, Jacques Mathey proposed a relatively early date of 1714.[51] Regarding aforementioned datings as too late, Nemilova dated Actors … within a period of 1711–1712;[lower-alpha 6] the Soviet scholar argued that the picture has similarities with another Watteau composition, Du bel âge…,[lower-alpha 7] as it has characters depicted in half-length with compositional rhythm and visual features similar to these found on the Hermitage painting. In her dating, Nemilova also relied upon several other works attributed to the early 1710s by Adhémar and Mathey: La Conversation (now in the Toledo Museum of Art), The Dreamer, La Polonnoise, and Polish Woman; whereas the first of them notably has a depiction of a negro boy, the latter three presumably depict the same model that appears in Coquettes…; to Nemilova, the "Polish" dress of the model was the most important point for her dating, as Polish-styled costumes were fashionable in France during the early 1710s, some years after the Battle of Poltava.[58]

In later publications, a variety of dating is also given. In a 1968 catalogue raisonné, Ettore Montagni[lower-alpha 8] preferred 1717,[19] a dating also used by Donald Posner in a 1984 book.[55] Others authors, such as Pierre Rosenberg,[59] Marianne Roland Michel,[60] and Mary Vidal,[61] proposed a 1714-1715 dating; Roland Michel, while seemingly accepting identities suggested by Nemilova, objected her dating as too early and not taking into account the psychological study of subjects.[60] In 2000, Helmut Börsch-Supan chose an even later dating to 1718,[62] and in 2002, Renaud Temperini proposed 1716–1717.[63]

The painting's traditional naming originates from Henri Simon Thomassin's engraving, executed for the Recueil Jullienne.

Actors of the Comédie-Française was engraved in reverse for the Recueil Jullienne, a compilation of prints after Watteau's work published by his friend Jean de Jullienne in 1735, by Henri Simon Thomassin's. The print was cited in François-Bernard Lépicié's obituary notice for Thomassin that appeared in the March 1741 issue of the Mercure de France magazine.[18] Thomassin’s print was copied in manière noire by French-born English printmaker John Simon (1675-1755) under the title Mascarade. A Favourite Sultana, an oval format print depicting the turbaned woman at the left of Thomassin‘s engraving, was produced in London in 1785 by Italian-born artist Francesco Bartolozzi, and has the misleading declaration “Watteau pinxt." Another engraving of the composition was produced by Félix-Jean Gauchard, to accompany the entry on Watteau published in Charles Blanc’s Histoire des peintres des toutes les écoles. École français in 1862-63. Although the image was probably based on Thomassin’s print, it was renamed La Comédie italienne.[64]


Exhibition history
List of major exhibitions featuring the work
Year Title Location Cat. no. References
Primary Secondary
1908 Les anciennes écoles de peinture dans les palais et collections privées russes, by the Starye gody magazine Imperial Society for the Encouragement of the Arts, Saint Petersburg 286 [32]:729 [65]
1922–1925 Temporary exhibition of new acqusition from French painting of the 17th and 18th centuries Hermitage Museum, Petrograd (later Leningrad) * [35][66]
1955 An Exhibition of French Art of the 15th-20th Centuries Pushkin Museum, Moscow * [67]
1956 An Exhibition of French Art of the 12th-20th Centuries Hermitage Museum, Leningrad * [68]
1965 Chefs-d'oeuvre de la peinture française dans les musees de l'Ermitage et de Moscou Musée des Beaux-Arts de Bordeaux, Bordeaux 43 [69]:611
1965–1966 Chefs-d'oeuvre de la peinture française dans les musees de l'Ermitage et de Moscou Louvre, Paris 41 [70]:614
1972 Watteau and His Time Hermitage Museum, Leningrad 5 [71][10]:734
1980 Les arts du théâtre de Watteau à Fragonard Galerie des Beaux-Arts, Musée des Beaux-Arts de Bordeaux, Bordeaux 67 [12]
1984–1985 Watteau 1684–1721 National Gallery of Art, Washington, D.C.; Galeries nationales du Grand Palais, Paris; Charlottenburg Palace, Berlin P. 29 [72]:359
"*" denotes an unnumbered entry.

Notes
  1. Russian: «Актёры Французского театра»,[1] usually translated into English as Actors of the Comédie-Française;[2][3][4]:431 a variant title with the hyphen omitted, Actors of the Comédie Française, is known as well.[5][6]
    Other Russian titles, based on identifications given by Inna Nemilova and her predecessors, are «Актёры Французской комедии»[7] and «Портрет французских актёров».[8]:187 Related titles in English and French include Actors of the Théâtre Français,[9] The French Comedians,[10]:734, The Comedians,[11] Acteurs de la Comédie-Française,[12] and Les comediens français.[2]
  2. Christine Antoinette Charlotte Desmares (1682–1753) performed in the Comédie-Française from 1690 to 1721; at some point, she was a mistress of Philippe II, Duke of Orléans. According to François Moureau's article "Watteau in His Time" published in the Watteau, 1684–1721 exhibition catalogue, Desmares "had numerous reasons for meeting Watteau."[28] Nemilova presumed that Watteau was introduced to Desmares by his friend, Mercure de France editor Antoine de Laroque.[29]
  3. Virgile Josh’s description of Coquettes... had been adopted by a number of scholars, including the Russians Alexandre Benois,[32]:729[33] Valentin Miller,[34]:58–59 and Sergei Ersnt,[35]:172–173 as well as the Hermitage Museum's 1958 catalogue of the painting collection.[36]
  4. Pierre Le Noir (1657–1731) was a son of François Le Noir dit La Thorillière, a prominent actor associated with Molière’s company. He joined the royal troupe in 1671, first as a touring artist; in 1684, Le Noir became a sociétaire of the Comédie-Française. Le Noir, also known as La Thorillière like his father was, mostly performed a manteau roles.[39]
  5. These include The Island of Cythera (The Embarkation’s preceding work, now in the Städel Museum in Frankfurt), The Dreamer (now in the Art Institute of Chicago), The Polish Woman (copy in the National Museum in Warsaw), and the lost La Polonnoise engraved by Michel Aubert.
  6. Claims of Nemilova's other or changed datings, notably claimed by Montagni (in 1968, see Camesasca 1971, p. 115, cat. no. 162) and in the 1980 exhibition catalogue,[12] are considered erroneous.[52]
  7. Du bel âge…, also called Le Concert, is a presumably lost painting, believed to be a pendant to Les entretiens badins..., also presumed lost. These both were engraved separately by Jean Moyreau and Benoît Audran the Younger, respectively, and were published in the Recueil Jullienne, appearing on the same page. In February 1850, they have appeared on the market at the Caissotti sale; since then, their whereabouts are unknown.[53] Adhémar[54] and Posner[55] dated Du bel âge… ca. 1712, while Mathey[56] used a dating not earlier than 1704–1705; Montagni used a 1710 dating.[57]
  8. Author of a catalogue raisonné of Watteau's work, published in a 1968 book L'Opera Completa di Watteau, from the Classici dell'Arte series edited by Ettore Camesasca; later editions in French and English, published in the early 1970's, have the catalogue's authorship credited to Camesasca.

References
  1. Nemilova 1985, p. 444.
  2. Zolotov 1985, p. 98.
  3. Deryabina, Ekaterina (1989). "Antoine Watteau, 1684–1721, Actors of the Comédie-Française". In The Hermitage, Leningrad (ed.). Western European Painting of the 13th to the 18th Centuries. Introduction by Tatyana Kustodieva. Leningrad: Aurora Art Publishers. pp. 403–404. ISBN 5-7300-0066-9 – via the Internet Archive. Pl. 249–250
  4. Eidelberg, Martin (Winter 2006). "Philippe Mercier as a Draftsman". Master Drawings. 44 (4): 411–449. JSTOR 20444473.CS1 maint: ref=harv (link)
  5. Jaques, Susan (2016). The Empress of Art: Catherine the Great and the Transformation of Russia. New York: Pegasus Books. p. 119. ISBN 978-1-60598-972-3. OCLC 945969675 – via the Internet Archive. From France came works by Poussin, Antoine Watteau (Actors of the Comedie Francaise), and Jean-Siméon Chardin (The Laundress).
  6. Danielewicz, Iwona (2019). French Paintings from the 16th to 20th Century in the Collection of the National Museum in Warsaw. Complete Illustrated Catalogue Raisonné. Translated by Karolina Koriat, graphic design by Janusz Górski. Warsaw: The National Museum in Warsaw. pp. 346, 348. ISBN 978-83-7100-437-7. OCLC 1110653003. Catalogue note no. 279.CS1 maint: ref=harv (link)
  7. German 2010, p. 105.
  8. Nemilova, I. S. "К вопросу о творческом процессе Антуана Ватто". In Libman, M. Y; et al. (eds.). Искусство Запада: Живопись. Скульптура. Архитектура. Театр. Музыка (in Russian). Moscow: Nauka. pp. 181–195. OCLC 707104089.
  9. Grigorieva, M., ed. (1980). Hermitage, Leningrad. Great Museums of the World. Introduction by Vitaly Suslov; texts by T. Arapova and others; translated into English by Daryl Hyslop and Miriam Atlas. New York: Newsweek. pp. 11, 105–106. OCLC 1035610777 – via the Internet Archive.
  10. Cailleux, Jean (October 1972). "'Watteau and his times' at the Hermitage". The Burlington Magazine. 114 (835): 733–734. JSTOR 877114. [...] His theatre scenes, including the French Comedians (No. 5) are also the theatre of the Court.
  11. Baldini, Umberto (1970) [first published in Italian in 1966]. The Hermitage, Leningrad. Great Galleries of the World. Translated from the Italian by James Brockway. New York: Newsweek. p. 109. OCLC 92662 – via the Internet Archive.
  12. Les Arts du théâtre de Watteau à Fragonard (in French). Bordeaux: La Galerie. 1980. p. 110. OCLC 606308317.
  13. German 1980, p. 8.
  14. Nemilova 1964, p. 181; Grasselli, Rosenberg & Parmantier 1984, p. 311.
  15. Nemilova 1964, p. 181.
  16. Zolotov 1973, p. 138; Nemilova 1982, pp. 130–131; Grasselli, Rosenberg & Parmantier 1984, p. 312.
  17. Dacier & Vuaflart 1922, p. 23.
  18. Lépicié, F. B. (March 1741). "Lettre sur la mort de M. Thomassin". Mercure de France (in French). pp. 568–570 – via Google Books.
  19. Camesasca 1971, p. 115, cat. no. 162.
  20. Catalogue des tableaux du cabinet de M. Crozat Baron de Thières á Paris (in French). Paris. 1755. p. 65 – via Google Books.
  21. Dezallier d'Argenville, Antoine-Nicolas (1757) [1749]. Voyage Pictoresque de Paris (in French). Paris. p. 140 – via Google Books. Des personnages en masque se préparant pour le bal, par Watteau. Il y en a une estampe gravée par Thomassin.
  22. Munnich, Johann Ersnt von (1773–1783). Catalogue raisonné des tableaux qui trouvent dans les Galeries et Cabinets du Palais Impérial à Saint-Pétersbourg (in French). 1. p. 274. Cat. no. 873.
  23. Labensky, F. I., ed. (1797). Каталог картинам, хранящимся в Императорской Галерее Эрмитажа [Catalogue of Paintings housed in the Imperial Hermitage Gallery] (in Russian). 2. p. 55. Cat. no. 2545.
  24. Опись картинам и плафонам, состоящим в заведывании II отделения Императорского Эрмитажа [Inventory of paintings and plafonds in the office of the Second Department of the Imperial Hermitage Museum] (in Russian). 1859. Cat. no. 1699
  25. Nemilova 1964, pp. 81, 181; Nemilova 1970, pp. 145–146; Nemilova 1989, p. 133.
  26. Hedouin 1856, p. 97, cat. no. 30.
  27. Grasselli, Rosenberg & Parmantier 1984, pp. 312–313; Eidelberg 2019: "Beginning with Edmond de Goncourt, it has become customary to assign the painting the awkward name of Coquettes qui pour voir, the opening words of the two quatrains that appears under the Thomassin engraving."
  28. Grasselli, Rosenberg & Parmantier 1984, p. 477.
  29. Nemilova 1970, p. 156; Nemilova 1989, p. 152.
  30. Schéfer 1896, pp. 185–186: "Ce tableau des Coquettes n'est probablement fait que de portraits, de ces têtes d'etudes que Watteau crayonnait sur ses cahiers. Quels portraits? nous l'ignorons. Tout au plus hasarderons-nous quelque supposition vraisemblable sur cette jeune femme au nez retroussé, aux joues rebondies, que l'on voit à droit, coiffée d'un grand bonnet oriental et qui rappelle Mlle Desmares, de la Comédie Française. Assurément, ce n'est pas la Pèlerine dont Watteau a tracé la frête silhouette dans les "Figures de Mode"; cette figurine est si menue que l'on a peine à distinguer sa physionomie. Mais le grande portrait de Lepicié nous donne assez exactement le visage et les formes abondantes de la comédienne pour que notre hypothèse soit autorisée."
  31. Josz 1903, pp. 329–330; Josz 1904, p. 146.
  32. Benois, Alexandre (November–December 1908). "Живопись эпохи барокко и рококо" [Painting of the Age of Baroque and Rococo]. 1908: Выставка картин. Старые годы (in Russian). pp. 720–734 – via the Internet Archive.
  33. Benois, Alexandre (1910). "La Peinture Française, Italienne et Anglaise aux xviie et xviiie siècles". In Weiner, P. P. (ed.). Les Anciennes écoles de peinture dans les palais et collections privées russes, représentées à l'exposition organisée à St.- Pétersbourg en 1909 par la revue d'art ancien "Staryé gody". Bruxelles: G. van Oest. pp. 105–119. OCLC 697960157 – via the Internet Archive. D'un tout autre genre est un petit tableau de Watteau connu dans la gravure sous le nom «Les Coquettes». Le coloris n'en est pas recherché, mais les characters d'Isabelle la rusée, du stupide Pantalon, de la gaie Rosaure et du fourbe Scapin sont rendus avec amour et une grande finessee.
  34. Miller, V. (1923). "Французская живопись XVII-го и XVIII-го в.в. в новых залах Эрмитажа (L'art français du XVIII-ième et du XVIII-ième s.s. dans les nouvelles salles de l'Ermitage)" [“French Painting of the Seventeenth and Eighteenth Centuries in the New Rooms of the Hermitage”]. Город: литература, искусство. Петербург: Графические мастерские Академического издательства. pp. 52–78. OCLC 32361994.
  35. Ernst, Serge (March 1928). "L'exposition de peinture française des XVIIe et XVIIIe siecles au musée de l'Ermitage, a Petrograd (1922–1925)". Gazette des Beaux-Arts (in French). Vol. 17 no. 785. pp. 163–182. Retrieved March 29, 2019 – via Gallica.
  36. Levinson-Lessing, V. F., ed. (1958). Государственный Эрмитаж. Отдел западноевропейского искусства: Каталог живописи [The State Hermitage Museum. The Department for Western European Art: Catalog of Paintings] (in Russian). 1. Leningrad, Moscow: Iskusstvo. p. 270.
  37. Fourcaud, Louis de (February 1904). "Antoine Watteau: scenes et figures théatrales (I)". La Revue de l'art ancien et moderne (in French). Vol. 15 no. 83. pp. 135–150. Retrieved March 31, 2019 – via Gallica.
  38. Nemilova 1964, pp. 81, 181; Nemilova 1970, pp. 145–147; Grasselli, Rosenberg & Parmantier 1984, p. 312; Nemilova 1989, p. 133.
  39. Grasselli, Rosenberg & Parmantier 1984, p. 478; Nemilova 1989, p. 140.
  40. Belova 2006, pp. 58–59.
  41. Zolotov 1973, p. 139; Nemilova 1982, pp. 131–133; Nemilova 1989, pp. 137–138, 140, 142, 144, 146.
  42. Nemilova 1964, pp. 86–87, 91.
  43. Eidelberg 2019.
  44. Zimmermann, E. Heinrich (1912). Watteau: des Meisters Werke in 182 Abbildungen. Klassiker der Kunst (in German). 21. Stuttgart, Leipzig: Deutsche Verlags-Anstalt. pp. 190–191.
  45. Ettinger, P. D. (1912). "Rossica". Apollon (in Russian). No. 7. pp. 61–62. See a facsimile copy at the Vyacheslav Ivanov Research Center archive.
  46. Ferré, Jean, ed. (1972). Watteau. 1. Madrid: Éditions Athena. pp. 151–152.
  47. Ferré, Jean, ed. (1972). Watteau. 3. Madrid: Éditions Athena. p. 966.
  48. Nemilova 1964, pp. 28–29, 181; Nemilova 1982, p. 133; Grasselli, Rosenberg & Parmantier 1984, pp. 311–312.
  49. Adhémar 1950, p. 119, cat. no. 154, pl. 84.
  50. Sterling 1958, p. 41.
  51. Mathey, Jacques (1959). Antoine Watteau. Peintures réapparues inconnues ou négligées par les historiens (in French). Paris: F. de Nobele. p. 68.
  52. Nemilova 1985, p. 445; Zolotov 1985, p. 100.
  53. Dacier & Vuaflart 1922, p. 45.
  54. Adhémar 1950, p. 210, cat. no. 84, pl. 37.
  55. Posner 1984, p. 290.
  56. Mathey 1959, p. 66.
  57. Camesasca 1971, p. 100, cat. no. 58; illustration on p. 98.
  58. Nemilova 1964, p. 182; Nemilova 1970, p. 156; Nemilova 1985, p. 445.
  59. Grasselli, Rosenberg & Parmantier 1984, p. 312.
  60. Roland Michel 1984, p. 217.
  61. Vidal, Mary (1992). Watteau's Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France. New Haven, London: Yale University Press. p. 146. ISBN 0-300-05480-7. Ill. 142
  62. Börsch-Supan 2000, pp. 46–47.
  63. Temperini 2002, p. 79, cat. no. 77.
  64. Dacier & Vuaflart 1922, p. 23; Eidelberg 2019.
  65. Grasselli, Rosenberg & Parmantier 1984, p. 313; Nemilova 1985, p. 445; Eidelberg 2019.
  66. Miller, V. F. (1923). "Французская живопись XVII-го и XVIII-го в.в. в новых залах Эрмитажа". Город (in Russian). No. 1. p. 59.
  67. Antonova, I. A.; Berezina, V. N.; Borovaya, T. A.; et al. (1955). Выставка французского искусства XV-XX вв. Каталог (in Russian). With introduction by V. Prokofiev. Moscow: Iskusstvo. p. 24.
  68. The Hermitage Museum, Leningrad (1956). Выставка французского искусства XII-XX вв. (1956; Ленинград). Каталог (in Russian). Moscow: Iskusstvo. p. 12.
  69. Charensol, Georges (June 15, 1965). "Les musées de Russie a Bordeaux". Revue des Deux Mondes (in French): 607–613. JSTOR 44590025. De la maturité date Le Retour du Bal, où, pense-t-on, Watteau a groupé autour d'un négrillon, quatre acteurs du Théâtre Français.
  70. Charensol, Georges (October 15, 1965). "L'Ermitage au Louvre". Revue des Deux Mondes (in French): 610–616. JSTOR 44591522. Une œuvre aussi médiocre n'avait certainement pas sa place à côté du Retour du Bal qui fut reproduit en gravure sous le titre Coquettes qui pour voir galants au Rendez-Vous, ce qui correspond assez mal au sujet qui montre deux ravissantes filles à mi-corps avec un petit nègre, un personnage de comédie et un père noble son vaste chapeau à la main. Watteau a soit peint des acteurs du Théâtre Français, soit déguisé les membres de la famille Bailly à qui il destinait le tableau. Acquis en 1755 par Crozat il fut acheté à la vente de 1772 par la Grande Catherine.
  71. Hermitage Museum, Leningrad (1972). Ватто и его время. Leningrad: Avrora. pp. 12, 21. OCLC 990348938.
  72. Opperman, Hal (June 1988). "Watteau 1684-1721 by Margaret Morgan Grasselli, Pierre Rosenberg and Nicole Parmentier". The Art Bulletin. 70 (2): 354–359. JSTOR 3051127. Watteau's approach to the theater changed with such works as Coquettes qui pour voir galants (no. 29) and Les habits sont italiens (lost) that represent, according to the best available but still unsatisfactory interpretation, portraits of his friends dressed up in theatrical costume to no particular end.

Bibliography
  • Adhémar, Hélène (1950). Watteau; sa vie, son oeuvre (in French). Includes "L’univers de Watteau", an introduction by René Huyghe. Paris: P. Tisné. OCLC 853537.CS1 maint: ref=harv (link)
  • Belova, Y. N. (2006). "Аттрибуция изображенных лиц на картине Антуана Ватто "Актёры французского театра" ["Attribution of persons portrayed by Antoine Watteau in his "Actors of Theatre French"]". Экспертиза и атрибуция произведений изобразительного искусства: материалы X научной конференции [Expertise and Attribution of Works of Fine Arts: Materials from the 10th Academic Conference] (in Russian). Moscow: Magnum Ars. pp. 58–63.CS1 maint: ref=harv (link)
  • Camesasca, Ettore, ed. (1971). The Complete Paintings of Watteau. Classics of the World's Great Art. Introduction by John Sunderland. New York: Harry N. Abrams. p. 115. ISBN 0810955253. OCLC 143069 – via the Internet Archive.CS1 maint: ref=harv (link)
  • Dacier, Émile; Vuaflart, Albert (1922). Jean de Julienne et les graveurs de Watteau au XVIII-e siècle. III. Catalogue (in French). Paris: M. Rousseau. OCLC 1039156495. Note no. 36.CS1 maint: ref=harv (link)
  • German, M. Y. (2010) [first published in 1980]. Антуан Ватто [Antoine Watteau] (in Russian). Moscow: Iskusstvo—XXI vek. ISBN 978-5-98051-067-1. OCLC 641954308.CS1 maint: ref=harv (link)
  • Goncourt, Edmond de (1875). Catalogue raisonné de l'oeuvre peint, dessiné et gravé d'Antoine Watteau. Paris: Rapilly. pp. 74–75. OCLC 1041772738 – via the Internet Archive.
  • Grasselli, Margaret Morgan; Rosenberg, Pierre; Parmantier, Nicole; et al. (1984). Watteau, 1684-1721 ; National Gallery of Art, June 17—September 23, 1984; Galeries Nationales du Grand Palais, Paris, October 23, 1984—January 28, 1985; Schloss Charlottenburg, Berlin, February 22—May 26, 1985 (PDF). Washington: National Gallery of Art. pp. 311–313. ISBN 0-89468-074-9. OCLC 557740787 – via the National Gallery of Art archive.CS1 maint: ref=harv (link)
  • Josz, Virgile (1904). Antoine Watteau (in French). Paris: H. Piazza et cie. OCLC 963518006 – via the Internet Archive.CS1 maint: ref=harv (link)
  • Parker, Karl T. & Mathey, Jacques (1957–1958). Antoine Watteau: catalogue complet de son oeuvre dessiné. Paris: F. de Nobèle. Cat. nos. 53, 64, 84, 541, 729, 823, 828, 914.CS1 maint: ref=harv (link)
  • Nemilova, I. S. (1964). Ватто и его произведения в Эрмитаже (Watteau et son œuvre à l'Ermitage) [Watteau and His Works in the Hermitage] (in Russian). Leningrad: Sovetskiy hudozhnik. OCLC 67871342.CS1 maint: ref=harv (link)
  • Nemilova, I. S. (1985). Французская живопись. XVIII век [French Painting: the 18th Century]. Государственный Эрмитаж. Собрание западноевропейской живописи: научный каталог в 16 томах. 10. Edited by A. S. Kantor-Gukovskaya. Leningrad: Iskusstvo. pp. 444–445. OCLC 22896528.CS1 maint: ref=harv (link)
  • Nemilova, I. S. (1989) [first published in 1973]. Загадки старых картин [Enigmas of Old Masters] (in Russian) (3rd ed.). Moscow: Izobrazitel'noe iskusstvo. ISBN 5-85200-017-5. OCLC 909190011.CS1 maint: ref=harv (link)
  • Posner, Donald (1984). Antoine Watteau. London: Weidenfeld & Nicolson. p. 290. ISBN 0-8014-1571-3. OCLC 10736607 – via the Internet Archive.CS1 maint: ref=harv (link)
  • Roland Michel, Marianne (1984). Watteau: Un artiste au XVIII-e siecle (in French). Paris: Flammarion. p. 217. ISBN 978-2080120205. OCLC 417153549.CS1 maint: ref=harv (link)
  • Zolotov, Yuri, ed. (1985). Antoine Watteau: Paintings and Drawings from Soviet Museums. Translated from the Russian by Vladimir Pozner. Leningrad: Aurora Publishers. pp. 98–100. OCLC 249485317.CS1 maint: ref=harv (link)

Further reading
  • Börsch-Supan, Helmut (2000). Antoine Watteau, 1684-1721. Meister der französischen Kunst (in German). Köln: Könemann. pp. 46–47. ISBN 3-8290-1630-1. OCLC 925262301.CS1 maint: ref=harv (link)
  • Chegodaev, A. D. (1963). Антуан Ватто [Antoine Watteau]. Moscow: Iskusstvo. p. 17. OCLC 40315312. Pl. no. 13.
  • Georgi, J. G. (1794). Описание российско-императорскаго столичнаго города Санктпетербурга и достопамятностей в окрестностях онаго [The Description of the Russian Empire Capital City of Saint Petersburg and sights of interest in its vicinity] (in Russian). 2. Saint Petersburg. p. 478 – via the Russian State Library archive.
  • German, M. Y. (1980). Antoine Watteau. Masters of World Painting. New York: Harry N. Abrams. ISBN 0-8109-2221-5. OCLC 6998113 – via the Internet Archive.CS1 maint: ref=harv (link)
  • Gauthier, Maximilien (1959). Watteau. Les Grands Peintres. Paris: Larousse. OCLC 1151682363 – via the Internet Archive. Pl. 29
  • M. Hébert (1766). Dictionnaire pittoresque et historique... (in French). 1. Paris: C. Hérissant. p. 103. OCLC 921720076 – via Gallica.
  • Hedouin, P. (1856). Mosaïque. Peintres, musiciens, littérateurs, artistes dramatiques à partir du 15e siècle jusqu'à nos jours. Paris, Valenciennes. p. 97. OCLC 1157159285 – via the Internet Archive.CS1 maint: ref=harv (link)
  • Josz, Virgile (1903). Watteau. Moeurs du XVIIIe siècle (in French). Paris: Société du Mercure de France. OCLC 900757508 – via Google Books.CS1 maint: ref=harv (link)
  • Mantz, Paul (1892). Antoine Watteau. Paris: Librairie illustrée. pp. 181–182 – via the Internet Archive.
  • Mirzoeff, Nicholas (1995). "'Seducing Our Eyes': Gender, Jurisprudence, and Visuality in Watteau". The Eighteenth Century. Philadelphia, PA: University of Pennsylvania Press. 35 (2): 135–154. JSTOR 41467582.
  • Mollett, John William (1883). Watteau. Illustrated Biographies of the Great Artists. London: S. Low, Marston, Searle & Rivington. p. 63 – via the Internet Archive. Cat. no. 78.
  • Nemilova, I. S. (1970). "Картина Ватто «Актёры французской комедии» и проблема портрета в творчестве художника [Watteau's painting Actors of the Comédie-Française and the matter of portrait in the artist's work]". In Izergina, A. N.; Nikulin, N. N. (eds.). Западноевропейское искусство [Western European Art] (in Russian). Leningrad: Aurora. pp. 145–157. OCLC 837241769.CS1 maint: ref=harv (link)
  • Nemilova, I. S. (1982). Французская живопись XVIII века в Эрмитаже (La peinture française du XVIIIe siècle, Musée de L’Ermitage: catalogue raisonné) [French Painting of the 18th centrty in the Hermitage Museum: Scientific Catalogue]. Leningrad: Iskusstvo. pp. 130–134. OCLC 63466759.CS1 maint: ref=harv (link)
  • Nemilova, I. S. (1985). Французская живопись XVIII века [French Painting of the 18th Century]. Государственный Эрмитаж. Собрание живописи (in Russian). Moscow: Izobrazitel'noe iskusstvo. pp. 242–243. OCLC 878889718.
  • Parker, K. T. (1970) [1931]. The Drawing of Antoine Watteau. New York: Hacker Art Books. p. 48. ISBN 0-87817-050-2. OCLC 680613312 – via the Internet Archive.
  • Phillips, Claude (1895). Antoine Watteau. London: Seeley and co. Limited. pp. 70, 72. OCLC 729123867 – via the Internet Archive.
  • Réau, Louis (1928). "Catalogue de l'art français dans les musées russes". Bulletin de la Société de l'histoire de l'art français: 167–314 – via Gallica. Cat. no. 417.
  • Schéfer, Gaston (September 1896). "Les Portraits dans l'oeuvre de Watteau". Gazette des Beaux-Arts (in French) (471): 177–189 – via Gallica.CS1 maint: ref=harv (link)
  • Shvartsman, N. A. (2013). Грёзы и миражи в садах Версаля [Dreams and Mirages in the Gardens of Versailles] (in Russian). Moscow: Belyi gorod. ISBN 978-5-7793-4400-5.
  • Sterling, Charles (1958) [first published in 1957]. Great French Painting in the Hermitage. Translated from French by Christopher Ligota. New York: Harry N. Abrams. OCLC 598217.CS1 maint: ref=harv (link)
  • Stuffmann, Margret (July–September 1968). "Les tableaux de la collection de Pierre Crozat : historique et destinée d'un ensemble célèbre établis en partant d'un inventaire après décès inédit 30 mai 1740". Gazette des Beaux-Arts (in French). 72: 11–144. OCLC 888303109.CS1 maint: ref=harv (link)
  • Temperini, Renaud (2002). Watteau. Maîtres de l'art (in French). Paris: Gallimard. p. 79. ISBN 9782070116867. OCLC 300225840. Cat. no. 77.CS1 maint: ref=harv (link)
  • Troubnikoff, A. (July–September 1916). "Французская школа в Гатчинском дворце (La peinture française au château de Gatchina)" ["French Painting in the Gatchina Palace"]. Старые годы (in Russian). pp. 49–67.
  • Zolotov, Y. K. (1968). Французский портрет XVIII века [French Portrait in the Eighteenth Century]. Moscow: Iskusstvo. pp. 28, 30. OCLC 567935709.
  • Zolotov, Y. K., ed. (1973). Антуан Ватто (альбом репродукций) [Antoine Watteau: a reproductions album] (in Russian). Leningrad: Aurora. pp. 138–140. OCLC 46947007.CS1 maint: ref=harv (link)
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.