Antoine Watteau

Jean-Antoine Watteau{{refn|group=n.|The surname Watteau is presumed to originate from the word gâteau ({{trans|cake}}), possibly alluding to the trade carried on by the painter's distant ancestors;{{sfn|Camesasca|1971|p=[https://archive.org/details/completepainting0000watt/page/83/mode/1up 83]}}{{Cite book|last1=Germain|first1=Jean|url=https://books.google.com/books?id=4bYErd60g3YC|title=Dictionnaire des noms de famille en Wallonie et à Bruxelles|last2=Herbillon|first2=Jules|publisher=E. Racine|year=2007|isbn=978-2-87386-506-1|location=Bruxelles|page=[https://books.google.com/books?id=4bYErd60g3YC&pg=PA1039 1039]|language=fr|via=Google Books|oclc=159955388}} according to {{harvnb|Mollett|1883|p=[https://archive.org/details/gri_33125003298433/page/n26/mode/1up 11]}}, "In the old Walloon language the W is substituted for G, and the very name 'Wallon' is derived from 'Gallus.' 'Watteau' stands for 'Gateau,' as 'William' does for 'Guillaume,' &c." In French, the surname is usually pronounced with the voiced labiodental fricative {{IPA|fr|v|}},{{Cite book|last=Pierret|first=Jean-Marie|url=https://books.google.com/books?id=mP4JUXoFLBoC|title=Phonétique historique du français et notions de phonétique générale|publisher=Peeters|year=1994|isbn=9068316087|location=Leuven|page=[https://books.google.com/books?id=mP4JUXoFLBoC&pg=PA107 107]|issn=0779-1658|via=Google Books}} though in Hainaut, the pronunciation with the voiced labio-velar approximant {{IPA|fr|w|}} is present.{{Cite journal|last=Pohl|first=Jacques|date=1983|title=Quelques caractéristiques de la phonologie du français parlé en Belgique|journal=Langue française|volume=60|issue=6|pages=30–41|doi=10.3406/lfr.1983.5173}}
Various spelling of the surname notably include Wateau, Watau, Vuateau, Vateau, and Vatteau.{{sfn|Grasselli|Rosenberg|Parmantier|1984|pp=15–28|loc="Chronology"}}}} was born in October 1684{{refn|group=n.|It is generally agreed that Watteau was the Jean-Antoine Watteau baptised on 10 October 1684, in Valenciennes at the Eglise de Saint-Jacques.{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=16}} However, it has been suggested by Michel Vangheluwe in 1984 that the painter could be the Antoine Watteau born on 6 May 1676, eight years before the traditional date.{{cite book|last=Vangheluwe|first=Michel|chapter=Watteau à Valenciennes|pages=7–9|title=Antoine Watteau, 1684-1721: le peintre, son temps et sa légende|publisher=Champion — Slatkin|year=1987|isbn=2852030381|editor-last=Moureau|editor-first=François|editor-last2=Grasselli|editor-first2=Margaret|location=Paris, Genève}}{{sfn|Michel|2008|p=30}}}} in Valenciennes,{{cite book|author-link=Michael Levey|last=Levey|first=Michael|date=1993|title=Painting and sculpture in France 1700-1789|location=New Haven|publisher=Yale University Press|page=29|isbn=0300064942}} once an important town in the County of Hainaut which became sequently part of the Burgundian and Habsburg Netherlands until its secession to France following the Franco-Dutch War. He was the second of four sons born to Jean-Philippe Watteau (1660–1720) and Michelle Lardenois (1653–1727),{{refn|group=n.|Jean-Philippe Watteau and Michelle Lardenois, married on 7 January 1681, had four sons: Jean-François ({{abbr|b.|born}} 1682), Jean-Antoine, Antoine Roch (1687–1689), and Noël Joseph (1689–1758).{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=17}}}} and was presumed to be of Walloon descent.{{refn|group=n.|Contemporary authors disputed if Watteau could be considered as a Frenchman, given his origin from a recently seized region. In The Temple of Taste, Voltaire described Watteau as a Flemish artist;{{Cite book|last=Voltaire|url=https://archive.org/details/oeuvrescomplete31voltgoog|title=Oeuvres completes de Voltaire|language=fr|publisher=Impr. de la Société littéraire-typographique|year=1784|volume=12|location=Paris|pages=[https://archive.org/details/oeuvrescomplete31voltgoog/page/n179/mode/1up 171 n. 6]|chapter=Le Temple du Goût|oclc=83543415|quote=Vateau eft un peintre flamand qui a travaillé à Paris, où il est mort il y a quelques années. Il a réussi dans les petites figures qu'il a dessinées & qu'il a très-bien grouppées; mais il n'a jamais rien fait de grand, il en était incapable.|author-link=Voltaire|via=the Internet Archive}} similarly, Frederick the Great labeled Watteau and Nicolas Lancret as "French painters of the school of Brabant" in a letter to his sister, the Margravine of Brandenburg-Bayreuth.{{Cite book|last=Frederick II of Prussia|author-link=Frederick the Great|url=https://archive.org/details/bub_gb_-M-ZhNokjVoC|title=Oeuvres de Frédéric Le Grand|publisher=R. Decker|year=1856|volume=27|location=Berlin|page=[https://archive.org/details/bub_gb_-M-ZhNokjVoC/page/n110/mode/1up 75]|language=fr|chapter=72. A La Margrave de Baireuth (Ruppin, 9 novembre 1739)|issue=1|quote=La plupart de mes tableaux sont de Watteau ou de Laucret, a tous deux peintres français de l'éeole de Brabant.|via=the Internet Archive}}{{sfn|Grasselli|Rosenberg|Parmantier|1984|pp=505, 548}} Nonetheless, later authors, such as Karl Woermann{{Cite book|last=Woermann|first=Karl|url=https://archive.org/details/geschichtederkun05woer_0|title=Die Kunst der mittleren Neuzeit von 1550 bis 1750 (Barock und Rokoko)|language=de|publisher=Bibliographisches Institut|year=1920|series=Geschichte der Kunst aller Zeiten und Völker|volume=5|location=Leipzig, Wien|pages=[https://archive.org/details/geschichtederkun05woer_0/page/196/mode/1up 196]|oclc=1045561032|quote=In Valenciennes geboren, das Flandern damals erft vor kerzem an Frankreich verloren hatte, war Watteau von Haus aus Wallone.|author-link=Karl Woermann|via=the Internet Archive}} and René Huyghe,{{Cite book|last=Huyghe|first=René|url=https://archive.org/details/artspiritofman0000huyg|title=Art and the Spirit of Man|publisher=H. N. Abrams|year=1962|location=New York|page=[https://archive.org/details/artspiritofman0000huyg/page/413/mode/1up 413]|chapter=Watteau: Song of the Soul|oclc=1147729820|others=Translated from the French by Norbert Guterman|quote=Watteau was a Frenchman, but a Frenchman of recent vintage, for it was only in 1678, six years before he was born, that Valenciennes became French under the Treaty of Nijmegen. He was thoroughly French, for the province of Hainaut had always been French-speaking and culturally oriented to France. Watteau was not a Fleming, as his contemporaries liked to call him; he was a Walloon.|author-link=René Huyghe|chapter-url=https://archive.org/details/artspiritofman0000huyg/page/409/mode/1up|url-access=registration|via=the Internet Archive}} define Watteau as a Walloon.}} The Watteaus were a quite well-to-do family, although Jean-Philippe, a roofer in second generation, was said to be given to brawling.{{refn|group=n.|At least one case of such behavior was documented; in 1690, Jean-Philippe Watteau was charged of having broken the leg to Abraham Lesne, burgher.{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=17}}}} Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin,For further reading on Jacques-Albert Gérin, see the following:{{bulleted list|{{Cite encyclopedia|title=Gérin, Jacques-Albert|url=https://archive.org/details/allgemeineslexik13thie/page/462/mode/1up|encyclopedia=Allgemeines Lexikon der bildenden Künstler|publisher=E. A. Seemann|location=Leipzig|date=1920|editor-last=Thieme|editor-first=Ulrich|editor-link=Ulrich Thieme|volume=13|page=439|language=de|oclc=1039498097|via=the Internet Archive}}|{{cite encyclopedia|last=Zimmermann|first=Michael F.|editor-last=Roman d'Amat|editor-first=Jean-Charles|editor-last2=Prevost|editor-first2=Michel|editor-last3=Tribout de Morembert|editor-first3=Henri|name-list-style=amp|date=1989|title=Gérin (Jacques-Albert)|encyclopedia=Dictionnaire de biographie française|volume=15|location=Paris|publisher=Letouzey et Ané|at=col. 1295}}|{{Cite book|last=Bénézit|first=Emmanuel|author-link=Emmanuel Bénézit|title=Benezit Dictionary of Artists|publisher=Gründ|year=2006|isbn=2-7000-3076-1|volume=6|location=Paris|pages=[https://archive.org/details/benezitdictionar06bene/page/67/mode/1up 67]|orig-date=first published in French in 1911–1923|via=the Internet Archive}}|{{cite encyclopedia|last=Poinsignon|first=Jean-Claude|editor-last=Kasten|editor-first=Eberhard|display-editors=etal|date=2006|title=Gérin, Jacques-Albert|encyclopedia=Allgemeines Künstlerlexikon|language=de|volume=52|location=München, Leipzig|publisher=Saur|pages=141–142|isbn=3-598-22792-2}}}} a local painter, and his first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702.{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=19}} After a period spent as a scene-painter, and in poor health, he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition;{{refn|group=n.|For further discussion of Watteau's early years in Paris, see {{Cite journal|last=Glorieux|first=Guillaume|date=2002|title=Les débuts de Watteau à Paris: le pont Notre-Dame en 1702|journal=Gazette des Beaux-Arts|volume=139|pages=251–262|oclc=887046528}}}} it was in that period that he developed his characteristic sketchlike technique.{{sfn|Konody|1911|p=417}}

His drawings attracted the attention of the painter Claude Gillot, and by 1705 he was employed as an assistant to Gillot, whose work, influenced by those of Francesco Primaticcio and the school of Fontainebleau, represented a reaction against the turgid official art of Louis XIV's reign.{{sfn|Huyghe|1970|p=[https://archive.org/details/watteau0000huyg/page/13/mode/1up 13]|postscript=: "The standards Gillot used for his figures had nothing in common with those of the Royal French Academy. His were fine, slight, and mannered: much closer, in fact, to these of Francesco Primaticcio and the School of Fontainbleau."}}{{Cite encyclopedia|title=Watteau, (Jean-)Antoine|date=1986|encyclopedia=New Encyclopaedia Britannica|last=Macchia|first=Giovanni|edition=15th|volume=12|publisher=Encyclopaedia Britannica, Inc.|location=Chicago et al.|pages=529–530|isbn=9780852294345|url=https://archive.org/details/newencyclopaedia12ency/page/529/mode/1up|via=the Internet Archive}} Also [https://www.britannica.com/biography/Antoine-Watteau available] via Britannica.com.{{Cite encyclopedia|title=Gillot, Claude|date=1996|encyclopedia=The Dictionary of Art|publisher=Grove's Dictionaries|location=New York|url=https://archive.org/details/dictionaryofart0012unse/|last=Roland Michel|first=Marianne|editor-last=Turner|editor-first=Jane|volume=12|pages=[https://archive.org/details/dictionaryofart0012unse/page/637/mode/1up 637]–[https://archive.org/details/dictionaryofart0012unse/page/638/mode/1up 638]|isbn=1-884446-00-0|via=the Internet Archive}} Also [https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000032279?rskey=IRAby5 available] via Oxford Art Online. In Gillot's studio, Watteau became acquainted with the characters of the commedia dell'arte (which moved onto the théâtre de la foire following the Comédie-Italienne's departure in 1697), a favorite subject of Gillot's that would become one of Watteau's lifelong passions.{{Cite book|last=Eidelberg|first=Martin|title=Antoine Watteau, 1684-1721: le peintre, son temps et sa légende|publisher=Champion — Slatkin|year=1987|isbn=2852030381|editor-last=Moureau|editor-first=François|location=Paris, Genève|pages=45–57|chapter=Watteau in the Atelier of Gillot|oclc=468860156|editor-last2=Grasselli|editor-first2=Margaret}}

After a quarrel with Gillot, Watteau moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, and from him Watteau acquired his knowledge of decorative art and ornamental design.{{sfn|Konody|1911|p=417}} At the palace, Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his major influences, together with the Venetian masters that he would later study in the collection of his patron and friend, the banker Pierre Crozat.

During this period Watteau painted The Departing Regiment, the first picture in his second and more personal manner, showing influence of Rubens, and the first of a long series of camp pictures. He showed the painting to Audran, who made light of it, and advised him not to waste his time and gifts on such subjects. Watteau determined to leave him, advancing as excuse his desire to return to Valenciennes. He found a purchaser, at the modest price of 60 livres, in a man called Sirois, the father-in-law of his later friend and patron Edme-François Gersaint, and was thus enabled to return to the home of his childhood. In Valenciennes he painted a number of the small camp-pieces, notably the Camp-Fire, which was again bought by Sirois, the price this time being raised to 200 livres.{{sfn|Konody|1911|p=417}}

File:Antoine Watteau - Pleasures of Love - Google Art Project.jpg

File:Antoine Watteau - The Feast of Love - Google Art Project.jpg

Image:L'Embarquement pour Cythère, by Antoine Watteau, from C2RMF retouched.jpg, 1717, Louvre. Many commentators note that it depicts a departure from the island of Cythera, the birthplace of Venus, thus symbolizing the brevity of love.]]

In 1709, Watteau tried to obtain a one-year stay in Rome by winning the Prix de Rome from the Academy, but managed only to get awarded with the second prize.{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=20}} In 1712 he tried again and was persuaded by Charles de La Fosse that he had nothing to learn from going to Rome; thanks to Fosse he was accepted as an associate member of the Academy in 1712 and a full member in 1717.{{sfn|Konody|1911|p=417}}{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=21}} He took those five years to deliver the required "reception piece", one of his masterpieces: the Pilgrimage to Cythera, also called the Embarkation for Cythera.{{sfn|Grasselli|Rosenberg|Parmantier|1984|p=396}}

Watteau then went to live with the collector Pierre Crozat, who eventually on his death in 1740 left around 400 paintings and 19,000 drawings by the masters. Thus Watteau was able to spend even more time becoming familiar with the works of Rubens and the Venetian masters.{{sfn|Konody|1911|p=418}}

He lacked aristocratic patrons; his buyers were bourgeois such as bankers and dealers. Among his most famous paintings, beside the two versions of the Pilgrimage to Cythera, one in the Louvre, the other in the Schloss Charlottenburg, Berlin, are Pierrot (long identified as "Gilles"), Fêtes venitiennes, Love in the Italian Theater, Love in the French Theater, "Voulez-vous triompher des belles?" and Mezzetin. The subject of his hallmark painting, Pierrot (Gilles), is an actor in a white satin costume who stands isolated from his four companions, staring ahead with an enigmatic expression on his face.{{sfn|Grasselli|Rosenberg|Parmantier|1984|pp= 429–434}}

Watteau's final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for a mundane urban set of encounters. Painted at Watteau's own insistence, "in eight days, working only in the mornings ... in order to warm up his fingers",{{Cite book|title=Watteau, Music, and Theater|publisher=The Metropolitan Museum of Art|others=Rosenberg, Pierre (an introduction by); Cowart, Georgia J. (an essay by)|year=2009|isbn=978-1-58839-335-7|editor-last=Baetjer|editor-first=Katharine|location=New York|page=6}}. this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteau's theatre. It has been compared with Las Meninas as a meditation on art and illusion. The scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama.{{cite book|last=Schwartz|first=Sanford|date=1990|title=Artists and Writers|url=https://archive.org/details/artistswriters00schw|url-access=registration|location=New York|publisher=Yarrow Press|pages=[https://archive.org/details/artistswriters00schw/page/140 140–141]|isbn=1-878274-01-5}}

Watteau alarmed his friends by a carelessness about his future and financial security, as if foreseeing he would not live for long. In fact he had been sickly and physically fragile since childhood. In 1720, he travelled to London, England, to consult Dr. Richard Mead, one of the most fashionable physicians of his time and an admirer of Watteau's work. However, London's damp and smoky air offset any benefits of Dr. Mead's wholesome food and medicines. Watteau returned to France, spending six months with Gersaint,{{sfn|Konody|1911|p=418}} and then spent his last few months on the estate of his patron, Abbé Haranger, where he died in 1721, perhaps from tuberculous laryngitis, at the age of 36. The Abbé said Watteau was semi-conscious and mute during his final days, clutching a paint brush and painting imaginary paintings in the air.{{sfn|Dormandy|2000|p=11}}

His nephew, Louis Joseph Watteau, son of Antoine's brother Noël Joseph Watteau (1689–1756), and grand nephew, François-Louis-Joseph Watteau, son of Louis, followed Antoine into painting.

File:Antoine Watteau - Seated Woman.jpg

{{See also|:fr:Liste de peintures d'Antoine Watteau|l1=List of paintings by Antoine Watteau}}

Little known during his lifetime beyond a small circle of his devotees, Watteau "was mentioned but seldom in contemporary art criticism and then usually reprovingly".{{cite book|first=Arnold|last=Hauser|author-link=Arnold Hauser (art historian)|url=https://archive.org/details/socialhistoryofa0000unse_m4n2|title=Rococo, Classicism and Romanticism|series=Social History of Art|volume=3|publisher=Vintage Books|location=New York|date=1958|page=[https://archive.org/details/socialhistoryofa0000unse_m4n2/page/24/mode/2up 24–25]|isbn=9780203981245 |url-access=registration|via=the Internet Archive|oclc=61403934}} Sir Michael Levey once noted that Watteau "created, unwittingly, the concept of the individualistic artist loyal to himself, and himself alone".{{sfn|Levey|1966}} If his immediate followers, Lancret and Pater, would depict the unabashed frillery of aristocratic romantic pursuits, Watteau in a few masterpieces anticipates an art about art, the world of art as seen through the eyes of an artist. In contrast to the Rococo whimsicality and licentiousness cultivated by Boucher and Fragonard in the later part of Louis XV's reign, Watteau's theatrical panache is usually tinged with a note of sympathy, wistfulness, and sadness at the transience of love and other earthly delights.{{cite book|last1=Cunningham|first1=Lawrence|name-list-style=amp|first2=John J.|last2=Reich|date=2010|title=Culture and Values: A Survey of the Western Humanities|location=Boston, MA|publisher=Wadsworth Cengage Learning|page=399|isbn=9780495568773}} Famously, the Victorian essayist Walter Pater wrote of Watteau: "He was always a seeker after something in the world, that is there in no satisfying measure, or not at all."{{Cite magazine|last=Pater|first=Walter|date=October 1885|title=A Prince of Court Painters|url=https://archive.org/details/macmillansmagazi52macmuoft/page/400|magazine=Macmillan's Magazine|volume=52|issue=312|pages=401–414|via=the Internet Archive}}{{rp|414}}

Watteau was a prolific draftsman. His drawings, typically executed in trois crayons technique, were collected and admired even by those, such as count de Caylus or Gersaint, who found fault with his paintings. In 1726 and 1728, Jean de Jullienne published suites of etchings after Watteau's drawings, and in 1735 he published a series of engravings after his paintings, The Recueil Jullienne. The quality of the reproductions, using a mixture of engraving and etching following the practice of the Rubens engravers, varied according to the skill of the people employed by Jullienne, but was often very high. Such a comprehensive record was hitherto unparalleled. This helped disseminate his influence round Europe and into the decorative arts.

Watteau's influence on the arts (not only painting, but the decorative arts, costume, film, poetry, music) was more extensive than that of almost any other 18th-century artist. The Watteau dress, a long, sacklike dress with loose pleats hanging from the shoulder at the back, similar to those worn by many of the women in his paintings, is named after him. According to Konody's critical assessment in the Encyclopædia Britannica Eleventh Edition, in part, "in his treatment of the landscape background and of the atmospheric surroundings of the figures can be found the germs of Impressionism".{{sfn|Konody|1911|p=418}} His influence on later generations of painters may have been less apparent in France than in England, where J. M. W. Turner was among his admirers.Gowing, Lawrence, and Michel Laclotte. 1987. Paintings in the Louvre. New York: Stewart, Tabori & Chang. p. 506. {{ISBN|1556700075}}. A revived vogue for Watteau began in England during the British Regency, and was later encapsulated by the Goncourt brothers in France (Edmond de Goncourt having published a {{lang|fr|catalogue raisonné}} in 1875) and the World of Art union in Russia.

In 1984 Watteau societies were created in Paris, by Jean Ferré, and London, by Dr. Selby Whittingham. A major exhibition in Paris, Washington and Berlin commemorated the 1984 tercentenary of his birth. Since 2000 a Watteau centre has been established at Valenciennes by Professor Chris Rauseo. A catalogue raisonné of Watteau's drawings has been compiled by Pierre Rosenberg and Louis-Antoine Prat, replacing the one by Sir Karl Parker and Jacques Mathey;{{Cite journal|last=Roland Michel|first=Marianne|date=November 1998|title=The Rosenberg-Prat Catalogue of Watteau's Drawings|journal=The Burlington Magazine|volume=140|issue=1148|pages=749–754|jstor=888091}} similar projects on his paintings are undertaken by Alan Wintermute{{Cite news|last=Melikian|first=Souren|date=10 July 2008|title=A Watteau sets record at £12.36 million in an uneven Old Masters sale|work=The New York Times|url=https://www.nytimes.com/2008/07/10/arts/10iht-melik10.1.14356658.html|access-date=29 October 2020|quote=Alan Wintermute, a Christie's specialist based in New York who is currently writing the catalogue raisonné of Watteau's paintings, was able to retrace its history from the beginning down to the middle of the 19th century.}} and Martin Eidelberg,{{Cite web|last=Osborne|first=Ruth|date=5 December 2014|title=A Weight of Evidence: An Interview with Dr. Martin Eidelberg on the Watteau Abecedario|url=https://www.artwatchinternational.org/watteau-abecedario/|access-date=29 October 2020|website=ArtWatch International}} respectively.{{citation needed|date=April 2016}}

File:Antoine Watteau - Pierrot Content - WGA25440.jpg|Pierrot Content, c. 1711–1712, Thyssen-Bornemisza Museum, Madrid.{{Cite web|title=Pierrot Content|url=https://www.museothyssen.org/en/collection/artists/watteau-jean-antoine/pierrot-content|access-date=July 21, 2020|website=Museo Nacional Thyssen-Bornemisza|language=en}}

File:Capitulaciones de boda y baile campestre (Watteau).jpg|Marriage Contract and Country Dancing, c. 1711, Prado Museum, Madrid.{{Cite web|title=Marriage Contract and Country Dance - The Collection - Museo Nacional del Prado|url=https://www.museodelprado.es/en/the-collection/art-work/marriage-contract-and-country-dance/011a63d7-d68a-4806-86a9-c9431e13a5fa|access-date=July 21, 2020|website=www.museodelprado.es}}

File:Antoine Watteau - La Perspective (View through the Trees in the Park of Pierre Crozat) - WGA25444.jpg|La Perspective (View through the Trees in the Park of Pierre Crozat), c. 1715, Museum of Fine Arts, Boston

File:Antoine Watteau, Le Savoyard et la marmotte (1716).jpg|Savoyard with a Marmot, c. 1716, Hermitage Museum, St. Petersburg

File:Jean-Antoine Watteau - Mezzetin.JPG|Mezzetino, c. 1717–1720, Metropolitan Museum of Art, New York

File:Jean-Antoine Watteau - Pierrot, dit autrefois Gilles.jpg|Pierrot, c. 1718–1719, Louvre, Paris

File:Watteau, Antoine - Quellnymphe - 1708.jpg|Quellnymphe, c. 1718, private collection

File:Jean-Antoine Watteau - The Love Song.JPG|The Love Song, c. 1717, National Gallery, London

File:Antoine Watteau 012.jpg|The Robber of the Sparrow's Nest, c. 1712, National Galleries of Scotland, Edinburgh

File:Antoine Watteau - The Dance - WGA25477.jpg|The Dance, c. 1716–1718, Gemäldegalerie, Berlin

File:Antoine Watteau 062.jpg|Actors of the Comédie-Française, between 1711–1718, Hermitage Museum, Saint Petersburg

File:WatteauLes Fetesvenitiennes.jpg|Fêtes Vénitiennes, c. 1718–1719, National Galleries of Scotland, Edinburgh

File:Antoine Watteau - The Love Lesson - Google Art Project.jpg|The Love Lesson, c. 1716–1717, Nationalmuseum, Stockholm

File:Antoine Watteau 001.jpg|Les Plaisirs du Bal, c. 1717, Dulwich Picture Gallery, London

File:Jean-Antoine Watteau La Surprise, oil on panel.jpg|La Surprise, c. 1718, Getty Center, Los Angeles

File:Antoine Watteau 030.jpg|La Boudeuse, c. 1715–1718, Hermitage Museum, Saint Petersburg{{cite web|url=http://hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+paintings/37767|work=Hermitagemuseum.org|title=La Boudeuse (The Capricious Girl)|publisher=State Hermitage Museum|location=Saint Petersburg|df=mdy-all|access-date=2017-09-27}}

File:Antoine Watteau - L'imbarco per Citera.jpg|Pilgrimage to Cythera, c. 1718–1719, Charlottenburg Palace, Berlin

File:Antoine Watteau - The Italian Comedians - Google Art Project.jpg|The Italian Comedians, c. 1719–1721, National Gallery of Art, Washington, D.C.

File:Gersaint.jpg|L'Enseigne de Gersaint, c. 1720–1721, Charlottenburg Palace, Berlin

File:Antoine Watteau, Ceres (Summer), c. 1717-1718, NGA 46149.jpg|Ceres (Summer), c. 1717–1718, National Gallery of Art, Washington, D. C.

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• {{cite book|first=Ettore|last=Camesasca|author-link=:pt:Ettore Camesasca|url=https://archive.org/details/completepainting0000watt|url-access=registration|title=The Complete Paintings of Watteau|series=Classics of the World's Great Art|year=1971|orig-date=first published in Italian in 1968|location=New York|publisher=Harry N. Abrams|others=Introduction by John Sunderland|isbn=0810955253|oclc=143069|via=the Internet Archive}}
• {{Cite book|title=Painters and Public Life in Eighteenth-Century Paris|url=https://archive.org/details/painterspublicli0000crow/mode/2up|url-access=registration|last=Crow|first=Thomas E.|publisher=Yale University Press|year=1985|isbn=0-300-03764-3|location=New Haven; London|oclc=1200566051|via=the Internet Archive}}
• Dacier, Émile; Vuaflart, Albert; Herold, Jacques (1921–1929). Jean de Julienne et les graveurs de Watteau au XVIII-e siècle (in French). Paris: M. Rousseau. Volumes [https://digi.ub.uni-heidelberg.de/diglit/dacier1929bd1 1], [https://digi.ub.uni-heidelberg.de/diglit/dacier1922bd2 2], [http://digi.ub.uni-heidelberg.de/diglit/dacier1922bd3 3], and [https://digi.ub.uni-heidelberg.de/diglit/dacier1921bd4 4] available via the Heidelberg University Library repository
• {{cite book|last=Dormandy|first=Thomas|title=The White Death: the History of Tuberculosis|url=https://archive.org/details/whitedeathhistor0000dorm|url-access=registration|publisher=New York University Press|year=2000}}
• {{cite book|last=Goncourt|first=Edmond et Jules de|author-link=Goncourt brothers|title=L'art du XVIIIme siècle|language=fr|trans-title=The Art of the Eighteenth Century|location=Paris|publisher=G. Charpentier|oclc=1048224230|via=the Internet Archive|url=https://archive.org/details/lartduxviiimesi01gonc|volume=1|year=1881}}
• {{cite book|editor-last=Grasselli|editor-first=Margaret Morgan|editor-last2=Rosenberg|editor-first2=Pierre|editor2-link=Pierre Rosenberg|editor-last3=Parmantier|editor-first3=Nicole|name-list-style=amp|title=Watteau, 1684-1721|type=exhibition catalogue|year=1984|publisher=National Gallery of Art |via=the National Gallery of Art archive|url=https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/watteau-1684-1721.pdf|isbn=0-89468-074-9|oclc=557740787|url-access=registration}}
• {{cite book|last=Hind|first=Charles Lewis|author-link=C. Lewis Hind|title=Watteau|url=https://archive.org/details/watteau00hind|publisher=T.C. & E.C. Jack|location=London|year=1910|via=the Internet Archive}}
• {{cite book|last=Huyghe|first=René|author-link=René Huyghe|url=https://archive.org/details/watteau0000huyg|url-access=registration|title=Watteau: The Artist and His Drawings|others=Translated by Barbara Bray|location=New York|publisher=Braziller|year=1970|isbn=9780269027093 |orig-date=1950|via=the Internet Archive|oclc=556662493}}
• {{Cite EB1911|wstitle=Watteau, Antoine|volume=28|pages=417–418|first=Paul George|last=Konody|author-link=Paul George Konody}}
• {{cite book|last=Levey|first=Michael|author-link=Michael Levey|title=Rococo to Revolution: Major Trends in Eighteenth-Century Painting|url=https://archive.org/details/rococotorevoluti0000unse|url-access=registration|via=the Internet Archive|oclc=1036855531|location=London|publisher=Thames and Hudson|year=1966}}
• {{cite book|last=Mauclair|first=Camille|author-link=Camille Mauclair|url=https://archive.org/details/antoinewatteau1600mauc|title=Antoine Watteau (1684-1721)|publisher=Duckworth & Co|year=1906|via=the Internet Archive}}
• {{Cite book|last=Michel|first=Christian|url=https://books.google.com/books?id=nm3WpbfjmlgC|title=Le "célèbre Watteau"|language=fr|publisher=Droz|year=2008|isbn=978-2-600-01176-1|location=Genève|oclc=1158803919}}
• {{cite book|last=Mollett|first=John William|title=Watteau|series=Illustrated Biographies of the Great Artists|url=https://archive.org/details/gri_33125003298433|publisher=S. Low, Marston, Searle & Rivington|location=London|year=1883|via=the Internet Archive|oclc=557720162}}
• {{cite book|last=Perl|first=Jed|author-link=Jed Perl|title=Antoine's Alphabet: Watteau and His World|url=https://archive.org/details/antoinesalphabet0000perl|year=2009|publisher=Vintage Books|location=New York|isbn=978-0-307-38594-9}}
• {{cite book|last=Phillips|first=Claude|author-link=Claude Phillips|title=Antoine Watteau|url=https://archive.org/details/antoinewatteau00phil|year=1895|publisher=Seeley and co. Limited|oclc=729123867|via=the Internet Archive}}
• {{cite book|last=Plax|first=Julie Anne|title=Watteau and the Cultural Politics of Eighteenth-Century France|year=2000|location=Cambridge etc.|publisher=Cambridge University Press|isbn=0-521-64268-X|oclc=803847893}}
• {{Cite book|last1=Plomp|first1=Michiel|title=Watteau: Der Zeichner|last2=Sonnabend|first2=Martin|publisher=Hirmer|year=2016|isbn=978-3-941399-66-2|location=München|language=de|type=exhibition catalogue}}
• {{cite book|last=Posner|first=Donald|title=Antoine Watteau|url=https://archive.org/details/antoinewatteau0000posn|url-access=registration|year=1984|location=London|publisher=Weidenfeld & Nicolson|isbn=0-8014-1571-3|oclc=10736607|via=the Internet Archive}}
• {{cite book|last=Roland Michel|first=Marianne|url=https://archive.org/details/watteauartistofe0000rola/|url-access=registration|title=Watteau: an Artist of the Eighteenth Century|publisher=Trefoil|location=London|year=1984|isbn=0-86294-049-4|oclc=1302554747|via=the Internet Archive}}
• {{Cite book|title=Vies anciennes de Watteau|publisher=Hermann|year=1984|isbn=2-7056-5985-4|editor-last=Roseberg|editor-first=Pierre|location=Paris}}
• {{cite book|last1=Rosenberg|first1=Pierre|name-list-style=amp|last2=Prat|first2=Louis-Antoine|date=1996|title=Antoine Watteau: catalogue raisonné des dessins|location=Paris|publisher=Gallimard-Electa|isbn=2-07-015043-7|oclc=463981169|language=fr}}
• {{Cite book|last1=Rosenberg|first1=Pierre|last2=Prat|first2=Louis-Antoine|last3=Eidelberg|first3=Martin|name-list-style=amp|title=Watteau: The Drawings|publisher=Royal Academy of Arts|year=2011|isbn=9781905711703|location=London|type=exhibition catalogue|oclc=740683643}}
• {{cite book|last=Schneider|first=Pierre|title=The World of Watteau|url=https://archive.org/details/worldofwatteau1600schn|url-access=registration|location=New York|publisher=Time-Life Books|year=1967|oclc=680174683|via=the Internet Archive}}
• {{cite book|editor-last=Sheriff|editor-first=Mary D.|title=Antoine Watteau: Perspectives on the Artist and the Culture of His Time|location=Newark|publisher=University of Delaware|year=2006|isbn=978-0-87413-934-1|oclc=185456942}}
• {{Cite book|url=https://archive.org/details/gri_33125001770060|title=Watteau and His School|last=Staley|first=Edgcumbe|publisher=George Bell and Sons|year=1902|location=London|via=the Internet Archive}}
• {{cite web|last=Stein|first=Perrin|url=http://www.metmuseum.org/toah/hd/watt/hd_watt.htm|title=Antoine Watteau (1684–1721)|format=essay|work=Heilbrunn Timeline of Art History|location=New York|publisher=Metropolitan Museum of Art|date=October 2003|access-date=18 September 2020}}
• {{Cite book|title=Watteau's Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France|last=Vidal|first=Mary|publisher=Yale University Press|year=1992|isbn=0-300-05480-7|oclc=260176725|location=New Haven, London}}
• {{Cite book|last=Walsh|first=Linda|url=https://archive.org/details/changingstatusof0000unse/|title=The Changing Status of the Artist|publisher=Yale University Press|year=1999|isbn=0-300-07740-8|editor-last=Barker|editor-first=Emma|series=Art and Its Histories|volume=2|location=New Haven, London|pages=220–248|chapter=Subjects, Society, Style: Changing Evaluations of Watteau and His Art|oclc=1148191287|editor-last2=Webb|editor-first2=Nick|editor-last3=Woods|editor-first3=Kim|chapter-url=https://archive.org/details/changingstatusof0000unse/page/220/mode/2up|url-access=registration|via=the Internet Archive}}
• The Watteau Society Bulletin, London.
• Martin Eidelberg, watteauandhiscircle.org

{{refend}}

{{Commons-inline}}

• {{Art UK bio}}
• [http://watteau-abecedario.org/Acceptedpaintings.htm Alphabetical list of accepted paintings and copies at A Watteau Abecedario]
• [https://web.archive.org/web/20101105214950/http://www.nga.gov/collection/gallery/gg54/gg54-main1.html The Rococo and Watteau]
• [http://www.jean-antoine-watteau.org www.Jean-Antoine-Watteau.org] 89 works by Antoine Watteau
• [http://www.wga.hu/frames-e.html?/html/w/watteau/antoine/1/index.html Watteau paintings at the Web Gallery of Art]
• {{cite magazine|url=http://www.nybooks.com/articles/archives/2009/feb/12/the-pleasure-of-watteau/|title=The Pleasure of Watteau|author-link=Julian Bell|last=Bell|first=Julian|magazine=The New York Review of Books|date=12 February 2009|access-date=3 May 2020|url-access=subscription}}
• [http://collection.cooperhewitt.org/people/18042561/ Works by Watteau in the collection of the] Cooper-Hewitt, National Design Museum
• The Watteau Abecedario http://watteau-abecedario.org/default.htm

{{Antoine Watteau}}

{{Authority control (arts)}}

{{DEFAULTSORT:Watteau, Antoine}}

Category:1684 births

Category:1721 deaths

Category:Artists from Valenciennes

Category:Rococo painters

Category:Prix de Rome for painting

Category:18th-century French painters

Category:French male painters

Category:People of the Regency of Philippe d'Orléans

Category:Mythological painters

Category:18th-century deaths from tuberculosis

Category:Members of the Académie royale de peinture et de sculpture

Category:Tuberculosis deaths in France

Category:18th-century French male artists