Watteau was born in Valenciennes in October 10, 1684. Not much is known about Watteau’s family except that his father was a tile maker who was prone to drinking and brawling. Watteau showed artistic ability at a young age and it is possible that he first studied under a local artist named Jacques-Albert Gerin. His early drawings were of the local townspeople, shop keepers, and street clowns in Valenciennes. Like other young artists, Jean Antoine went to Paris in 1702 with the hope of entering a studio where he could refine his art. He worked as a second rate painter before becoming acquainted with Claude Gillot. Gillot was a set designer for the stage and it was Gillot who exposed Watteau to the Commedia Dell’arte. These theatrical themes appear throughout Watteau’s oeuvre: examples are Le Mezzetin (1718) which can be viewed at New York’s Metropolitan Museum and the later work Gilles at the Louvre.
It is not known for how long Watteau remained with Gillot, but Watteau also studied with the decorator Claude Audran in 1708. So much is made of the fact that Watteau was the inventor of the Fete Galante, that his contributions to 18th century ornamental decoration almost go unnoticed. Under Audran, Watteau became instrumental in developing what is known as chinoiseries and singeries. These decorations were based on oriental subject matter and monkey motifs which were applied to panels, furniture and porcelain.
In 1709, Watteau competed for Prix de Rome but failed to take first place. At this point he left Paris, and returned home to console and replenish himself. He felt that it was from his home town that he derived his strength. It was perhaps also his Flemish background which gave to Watteau his admiration of Peter Paul Rubens, who was the main influence on Watteau’s formative years. Although probably already familiar with Rubens, it was Audran’s position as Keeper at the Luxembourg Palace which allowed Watteau to study Rubens’ Marie de Medicis series. Watteau also studied the great Venetians and in particular appreciated Veronese and Titian. The merging of all these influences and Watteau’s own painterly style became known as Rubenisme, one of the most important artistic movements in France during the 18th century.
In 1712, Watteau again competed in the Prix de Rome. No prize was offered that year, but Charles de la Fosse and Academy President Corneille Van Cleve recognized Watteau’s talent and invited him to submit to the Academie de Peinture. Watteau became a full member of the French Royal Academy in 1717. His reception piece, or morceau de reception, was entitled l’Embarquement de Cythere (1717) which now resides in the Louvre. There is also a second version of this painting known as Le Pelerinage a Cythere (1718), which is in Berlin. A good deal of confusion surrounds the title of these works.
By 1719 Watteau was suffering from tuberculosis. That year he traveled to London to see a noted physician, Richard Mead, for whom he painted The Italian Comedians. In 1720 he returned to Paris and stayed with his friend E.F. Gersaint, an art dealer. For him he did Enseigne de Gersaint, a painting of the interior of Gersaint’s shop intended for use as a signboard. Watteau’s health continued to fail, and he moved to Nogent-sur-Marne just east of Paris, where he died on July 18, 1721.
