The Parisian comedy has always captured the hearts of millions since the 18th century. Two of the characters that became the star performers were Crispin, the scheming valet, and Harlequin and Pierrot, the jesting servant pair. Meanwhile, though the characters Pierrot and Harlequin were forbidden to play between 1697 and 1717, private trouping that used them in their shows became famous, letting them publicized even in engravings and artworks. In the history of compositions that displayed the figure of Pierrot, the most famous painting, that was long known as Gillies was composed by Antoine Watteau. Louvre presents this rare artwork along with other beautiful compositions to mark an exhibition, ‘A New Look At Watteau,’ that can be seen from October 16, 2024 – February 3, 2025.
This exhibition is curated by Guillaume Faroult, Executive Curator of the Department of Paintings, Musée du Louvre, which comes with a detailed catalogue. Presenting sixty-five works (paintings, drawings, engravings, books, photographs, and film excerpts), including seven paintings by Watteau, the exhibition is possible due to the support of various French, European, and American museums, including the Bibliothèque Nationale de France, the Gemäldegalerie in Berlin, the Wallace Collection, and the National Gallery of Art in Washington, D.C.
Embarked by a recent conservation work at the Centre for Research and Restoration of Museums of France (C2RMF) that restored a painting to its former glory, the exhibition will explore Watteau’s mysterious masterpiece while putting it in the context of the theatre life at the start of the 18th century and of the artworks by the artist’s contemporaries. The painter and writer Bernard Dufour described this mysterious masterpiece of Pierrot as,
“The Louvre’s enigmatic painting par excellence.”
The Pierrot by Antoine Watteau is a strange character who is dressed in white from head to toe as an iconic figure, creating a work of absolute originality. From its history to its composition and from its format to its iconography, everything about this painting captivates and hooks the viewer. Though its origin remains unknown, its existence can be dated back to 1826. Antoine Watteau had an amplified interest in the depictions of Comedie-Italienna scenes, and these works gave place of pride to the repertoire of comedy. He created The Pierrot and several self-portraits to depict the features of comic theatre, a peculiar theme that was uncommon in art. Some of the specific features of the Pierrot are his frontal symmetrical presentation with a ramrod-straight posture, faun-headed sculpture, and the surprising association of the Pierrot with the character of Crispin.
The painting is significant because the French painters, alongside Valenciennes masters Jean-Baptiste Pater and Niclas Lancret, have continuously been inspired by the character of Pierrot by Watteau. Secondly, it progressively rose to great fame through exhibitions until it joined the Musée du Louvre’s collection in 1869 through a bequest by Doctor Louis La Caze (1796– 1869). Finally, it became an essential part of various novels and musical representations.
Some of the other significant paintings from this exhibition are Karel Dujardin, Les Charlatans italiens, dit aussi Les Comédiens italiens; Bernard Picart, A rlequin; Claude Gillot et un collaborateur (Antoine Watteau), A rlequin empereur de la lune, etc. The exhibition’s unusual theme makes it impossible to miss. In fact, it is best to visit the exhibition at the time of Madman’s exhibition to experience the wonders of French artistry.
Featured Image: Nicolas Lancret, Les Acteurs de la Comédie Italienne © GrandPalaisRmn (musée du Louvre) Stéphane Maréchalle-jpg.
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