Enfilade

Call for Papers | Watteau and His Universe: Networks and Influences

Posted in Calls for Papers by Editor on June 17, 2020

From the Call for Papers (with the French version here) . . .

L’univers de Watteau: Réseaux et influences autour d’Antoine Watteau (1684–1721)
Musée de l’Armée – Hôtel National des Invalides, Paris, 17–18 November 2021

Proposals due by 15 October 2020

Pierre Antoine Quillard, The Four Seasons: Spring, ca. 1725–29, oil on canvas, 42.5 × 33.5 cm (Madrid: Colección Carmen Thyssen-Bornemisza en depósito en el Museo Nacional Thyssen-Bornemisza, inv. CTB.1930.90).

To commemorate the tricentenary of the death of Antoine Watteau (Valenciennes, 1684–1721, Nogent-sur-Marne), a two-day symposium will be held in Paris, at the Musée de l’Armée – Hôtel National des Invalides, in partnership with the Fine Arts Paris fair, 17–18 November 2021.

Since the major retrospective of 1984, several important publications have been produced. In 1996, Pierre Rosenberg and Louis-Antoine Prat co-signed the catalogue raisonné of Watteau’s drawings.1 In 2010, Christoph Martin Vogtherr conducted an extensive survey (historical and material) of French paintings by Watteau and his entourage in the collections of Prussian palaces,2 continued by an exhibition in the musée Jacquemart-André.3 Since 2014, Martin Eidelberg has been developing the Watteau and His Circle project, alongside the catalogue raisonné of his paintings: A Watteau Abecedario.

Eidelberg’s Watteau and His Circle project is the inspiration for this symposium. His research on artists who gravitated around Watteau, such as Pierre Antoine Quillard4 or Nicolas Lancret,5 together with the work of other scholars on those and other artists in the orbit of Watteau, have called into question the tradition of the solitary work of the artist. In 1932, Robert Rey was the first to consider Watteau’s followers as satellites, situating the artist as a central figure who set in motion an entire system around him.6 This term of satellites implies a notion of attraction and of concentric circles revolving around a central figure and occasionally crossing each other. However, within the framework of this symposium, this conception does not necessarily imply a hierarchy among the elements, but sees them interacting independently of their perceived importance. Masters, contemporaries, followers, friends, merchants, and collectors all took part in Watteau’s universe.

This symposium, Watteau and His Universe: Networks and Influences of Antoine Watteau (1684–1721), aims to study the figures gravitating around the painter who made him a central figure in eighteenth-century century French art.7 Close investigation of fellow painters, printmakers, merchants, collectors, amateurs, and friends is necessary in order to further our knowledge of Watteau. Communications will be expected to draw upon the works of art (drawings, paintings, etchings), so that they are exploited for their intrinsic value; the same goes for archival elements offering direct insight into the careers and interactions between Watteau and his universe.

The symposium will be divided into three parts:
1. Artists around Watteau
2. Watteau’s Social Milieu
3. Watteau on the Art Market: Collectors, Amateurs, Merchants

The symposium is organized in partnership with the international Fine Arts Paris fair (16–23 November 2021) and will be held in the auditorium of the Musée de l’Armée – Hôtel National des Invalides. Twenty-minute papers will be given in French and English (without translation). Since the organization of this symposium is a private initiative without public funding, please include at the end of your proposal your partner institution(s), your city of residence (in November 2021) and your ability or not to finance your trip. Requests for travel subventions will be studied on a case by case basis in order not to disadvantage students and independent researchers.

Publication of the symposium proceedings is planned within 12 months of the event. In order to speed up the publication process of the proceedings, upon notification of their acceptance, symposium participants will be asked to write their papers according to the established editorial standards. These will be forwarded with the approval notices.

Formatting
• Last name, first name, home institution
• Proposed title of the communication
• Summary of the proposal in 500 words (±10%, the count must appear at the end of the document)
• Illustrations (5 maximum, optional) – .word or .pdf document
• Proposals must be sent to watteau2021@gmail.com with the subject ‘NAME + Watteau 2021 Symposium’

For any questions, contact: Axel Moulinier (Doctoral student in History of Art, École du Louvre, University of Burgundy) via watteau2021@gmail.com.

Steering Committee
• Martin Eidelberg (Professor Emeritus, Rutgers University, New Jersey)
• Guillaume Faroult (Curator of 18th-century French paintings and British and American paintings, Paris, Louvre Museum)
• Margaret Morgan Grasselli (Visiting Lecturer, Department of History of Art and Architecture, Harvard University, and Visiting Senior Scholar for Drawings, Harvard Art Museums)
• Axel Moulinier (Doctoral student in History of Art, École du Louvre, Paris; University of Burgundy, Dijon)
• Louis-Antoine Prat (Art historian)
• Pierre Rosenberg, president (Member of the French Academy)
• Christoph Martin Vogtherr (Director General of the Foundation for Prussian Castles and Gardens Berlin-Brandenburg)

Notes

1  Rosenberg P. et L.-A. Prat, Antoine Watteau, 1684–1721: Catalogue raisonné des dessins (Paris and Milan: Gallimard-Electa, Leonardo Arte, 1996), 3 volumes.
2  Vogtherr C.M., Französische Gemälde, I: Watteau, Pater, Lancret, Lajoüe (Berlin: Akademie Verlag, coll.« Bestandskataloge der Kunstsammlungen », 2011).
3  Vogtherr C.M. and M. Tavener Holmes, De Watteau à Fragonard: Les fêtes galantes, exhibition catalogue, Paris, musée Jacquemart-André, 2014 (Paris, Culture Espaces, Fonds Mercator, 2014).
4  Eidelberg M., “P. A. Quillard, An Assistant to Watteau,” The Art Quarterly (1970): 39–70.
5  Eidelberg M., “The Young Lancret and Watteau,” in Watteau and His Circle, http://208.106.158.90/younglancret.htm.
6  Rey R., Quelques Satellites de Watteau: Antoine Pesne et Philippe Mercier, François Octavien, Bonaventure de Bar, François-Jérôme Chantereau, thèse complémentaire pour le doctorat ès lettres (Paris: Librairie de France, 1932).
7  Huyghe R., “L’Univers de Watteau,” (préface) in Adhémar H., Watteau sa vie, son oeuvre (Paris: P. Tisné, 1950).

Selective Bibliography

• Dacier É., A. Vuaflart, and J. Hérold, Jean de Jullienne et les graveurs de Watteau au XVIIIe siècle (Paris: Rousseau, 1922).

• Eidelberg M., “P. A. Quillard, An Assistant to Watteau,” The Art Quarterly (1970): 39–70.

• Eidelberg M., “Autour du nom de Quillard,” Bulletin de la Société de l’Histoire de l’Art Français (1979): 129–140.

• Eidelberg M., “Jean-Jacques Spoëde: Watteau’s ‘Special Friend’,” Gazette des beaux-arts (2000): 179–196.

• Eidelberg M., Watteau et la fête galante, exhibition catalogue, Musée des Beaux Arts de Valenciennes, 2004 (Paris and Valenciennes: Réunion des musées nationaux, Musée des beaux-arts de Valenciennes, 2004).

• Eidelberg M., Rêveries italiennes: Watteau et les paysagistes français au XVIIIe siècle, exhibition catalogue, Musée des Beaux Arts de Valenciennes, 2015-2016 (Gand: Snoeck, 2015).

• Glorieux G., A l’enseigne de Gersaint: Edme-François Gersaint, marchand d’art sur le pont Notre-Dame (1694–1750) (Paris: Champ Vallon, 2002).

• Glorieux G., “Michel-Joseph Ducreux (vers 1665–1715), marchand de masques de théâtre et d’habits de carnaval au temps de Watteau,” Bulletin de la Société de l’Histoire de l’Art Français de l’année (2007): 119–129.

• Moulinier A., “Les Satellites de Watteau,” Cahiers du dessin français (Paris: Galerie de Bayser, 2020).

• Moureau F. and M.M. Grasselli (dir.), Antoine Watteau (1684–1721): Le peintre, son temps et sa légende [colloque international, Paris, October 1984] (Paris and Genève: Champion, Slatkine, 1987).

• Rosenberg P., Watteau et son cercle dans les collections de l’Institut de France, exhibition catalogue, Chantilly, Musée Condé, 1996–1997 (Chantilly, Musée Condé, 1996).

• Sheriff M.D., ed., Antoine Watteau: Perspectives on the Artist and the Culture of His Time (Newark: University of Delaware, 2006).

• Vogtherr C.M., Französische Gemälde, I: Watteau, Pater, Lancret, Lajoüe (Berlin: Akademie Verlag, coll.« Bestandskataloge der Kunstsammlungen », 2011).

• Vogtherr C.M. and M. Tavener Holmes, De Watteau à Fragonard: Les fêtes galantes, exhibition catalogue, Paris, musée Jacquemart-André, 2014 (Paris, Culture Espaces, Fonds Mercator, 2014).

• Vogtherr C.M. and J. Tonkovich, Jean de Jullienne: Collector and Connoisseur (London: Wallace Collection, 2011).

• Wintermute A., Watteau and His World: French Drawing from 1700 to 1750, exhibition catalogue New York, Frick Collection, 1999–2000; Ottawa, National Gallery of Canada, 2000 (London and New York: Merrell Holberton Publishers, American Federation of Arts, 1999).

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