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Trois études d'un homme avec ses bras étendus devant lui (recto); Homme assis penché vers la droite (verso)
细节
ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE)
Trois études d'un homme avec ses bras étendus devant lui (recto); Homme assis penché vers la droite (verso)
sanguine (recto), pierre noire (verso), sur deux feuilles de papier jointes
20 x 33,5 cm (7 7⁄8 x 13 ¼ in.)
Trois études d'un homme avec ses bras étendus devant lui (recto); Homme assis penché vers la droite (verso)
sanguine (recto), pierre noire (verso), sur deux feuilles de papier jointes
20 x 33,5 cm (7 7⁄8 x 13 ¼ in.)
来源
Marque d'un monteur de la fin du XIXe siècle (L. 3795).
John Charles Robinson (1824-1913), Londres, (L. 1433).
Pierre Decourcelle; sa vente, Paris, Galerie Georges Petit, 29-30 mai 1911, lot 171 (adjugé 3850 francs).
Acquis au cours de celle-ci par Edouard Allez (vers 1863-1939), par héritage à sa veuve Mme Marie Allez, Paris, jusqu'en 1957 (selon Parker et Mathey).
Vente anonyme; Hôtel Drouot, Paris, 15 juin 1983, lot 39 (vendu 215 000 francs).
Acquis au cours de celle-ci par George Ortiz (1927-2013), par l'intermédiaire de la galerie Cailleux,
Puis par descendance.
John Charles Robinson (1824-1913), Londres, (L. 1433).
Pierre Decourcelle; sa vente, Paris, Galerie Georges Petit, 29-30 mai 1911, lot 171 (adjugé 3850 francs).
Acquis au cours de celle-ci par Edouard Allez (vers 1863-1939), par héritage à sa veuve Mme Marie Allez, Paris, jusqu'en 1957 (selon Parker et Mathey).
Vente anonyme; Hôtel Drouot, Paris, 15 juin 1983, lot 39 (vendu 215 000 francs).
Acquis au cours de celle-ci par George Ortiz (1927-2013), par l'intermédiaire de la galerie Cailleux,
Puis par descendance.
出版
K.T. Parker, J. Mathey, Antoine Watteau, catalogue complet de son oeuvre dessiné, Paris, 1957, II, n° 675, ill.
M. Roland Michel, Watteau. Un artiste au XVIIIe siècle, Paris, 1984, p. 109, fig. 71.
Connaissance des Arts, 'le Prix de l'art', Paris, 1982-83, p. 50, ill.
M.-M. Grasselli, 'Watteau's use of the trois-crayons technique', Drawings defined, New York, 1987, n° 231, fig. 364, note 60, 293, 320-321.
P. Rosenberg, L.-A. Prat, Antoine Watteau 1684-1721: catalogue raisonné des dessins, Milan, 1996, I., n° 506, ill.
M. Roland Michel, Watteau. Un artiste au XVIIIe siècle, Paris, 1984, p. 109, fig. 71.
Connaissance des Arts, 'le Prix de l'art', Paris, 1982-83, p. 50, ill.
M.-M. Grasselli, 'Watteau's use of the trois-crayons technique', Drawings defined, New York, 1987, n° 231, fig. 364, note 60, 293, 320-321.
P. Rosenberg, L.-A. Prat, Antoine Watteau 1684-1721: catalogue raisonné des dessins, Milan, 1996, I., n° 506, ill.
展览
Washington, National Gallery, Paris, Galeries Nationales du Grand Palais, Berlin, Charlottenbourg, Antoine Watteau, 1684-1721, 1984-1985, n° 74, ill.
更多详情
ANTOINE WATTEAU, THREE STUDIES OF A MAN WITH HIS ARMS EXTENDED IN FRONT OF HIM (RECTO); A SEATED MAN LEANING TO THE RIGHT (VERSO), RED CHALK, BLACK CHALK
Characteristic of Antoine Watteau's study sheets, this drawing depicts three male figures, each caught in a suspended moment of movement and sketched rapidly in red chalk. The figure on the left was reused in his Assembly in a Park from the former Louis La Caze Collection (fig. 1; Paris, Musée du Louvre, inv. MI 1124), while the figure on the right reappears in Rural Amusements (Les Amusements champêtres) (fig. 2; New York, private collection). These are two late paintings from Watteau's brief career, dating to circa 1717-1718. The three studies display the characteristic handling of Watteau's mature drawings: the red chalk is applied with remarkable speed, the anatomy is only broadly indicated, as are the facial features, and, as the catalogue of the Pierre Decourcelle Collection sale aptly observed, they include 'Watteau's legendary hands.'
A relatively unusual feature in Watteau's graphic work is that this drawing consists of two joined sheets. A number of instances are known in which Watteau extended a sheet himself (as in the Guitarist from the Veil-Picard Collection, sold at Christie's Paris, 25 March 2026, lot 6; Rosenberg and Prat, op. cit., no. 401), or where originally continuous sheets were later cut apart (ibid., nos. 57 and 58, recently rediscovered and exhibited; A. Moulinier and B. Roelly, Les Mondes de Watteau, exh. cat., Chantilly, Musée Condé, 2025, nos. 28 and 29). It is far less common to encounter two separate sheets joined together to create a larger format. It is difficult to determine whether this assemblage was carried out by Watteau himself. Nevertheless, the subject matter and dating of the drawings are sufficiently consistent to suggest that the artist may indeed have been responsible.
Another element supports this hypothesis. An unpublished drawing on the verso of this large composite sheet becomes visible when viewed with transmitted light. It depicts a male head turned to the left, together with a pair of legs drawn from the calves downward, which almost certainly belong to the same figure. Although the verso can only be examined indirectly (because the two joined sheets are mounted onto a single backing sheet), it reveals a striking stylistic contrast with the recto.
Watteau frequently reused paper available in his studio, particularly blank areas left unused on earlier sheets, returning several years later to complete drawings whose empty spaces had remained untouched. He also drew on sheets previously used by other artists, notably Charles de La Fosse (Paris, Musée du Louvre, inv. 33375, recto; Rosenberg and Prat, op. cit., no. 377).
The reclining figure on the verso may be compared with another found on a sheet in the collection of the École nationale supérieure des Beaux-Arts in Paris (inv. 1609; Rosenberg and Prat, op. cit., no. EBA184). Similarities may be observed in the treatment of the figures' profiles, the modelling of the calves, and the rendering of the shoes. That drawing has been dated to around 1712-1713 in connection with one of the only two known tableaux de mode painted by Watteau, The Conversation (Toledo Museum of Art, Ohio, inv. 1971.152).
This sheet bears witness to Watteau's remarkable persistence in his approach to drawing. The way he worked on his graphic oeuvre suggests that he repeatedly revisited, consulted, and reconsidered sheets executed many years earlier. Reusing an abandoned studio sheet was a common practice for him and implies that the drawing originally executed on what later became the verso had at one stage been judged by the artist to be of little interest. Approximately five years after sketching the reclining male figure, Watteau reused the reverse to create the kind of figures that became emblematic of his art: three half-length male studies, executed with a rapid, economical, and at times highly suggestive line. Comparing the two sides of the present sheet allows one to appreciate the stylistic changes and artistic evolution of Watteau's extraordinary genius as a draftsman.
Dr. Axel Moulinier
Characteristic of Antoine Watteau's study sheets, this drawing depicts three male figures, each caught in a suspended moment of movement and sketched rapidly in red chalk. The figure on the left was reused in his Assembly in a Park from the former Louis La Caze Collection (fig. 1; Paris, Musée du Louvre, inv. MI 1124), while the figure on the right reappears in Rural Amusements (Les Amusements champêtres) (fig. 2; New York, private collection). These are two late paintings from Watteau's brief career, dating to circa 1717-1718. The three studies display the characteristic handling of Watteau's mature drawings: the red chalk is applied with remarkable speed, the anatomy is only broadly indicated, as are the facial features, and, as the catalogue of the Pierre Decourcelle Collection sale aptly observed, they include 'Watteau's legendary hands.'
A relatively unusual feature in Watteau's graphic work is that this drawing consists of two joined sheets. A number of instances are known in which Watteau extended a sheet himself (as in the Guitarist from the Veil-Picard Collection, sold at Christie's Paris, 25 March 2026, lot 6; Rosenberg and Prat, op. cit., no. 401), or where originally continuous sheets were later cut apart (ibid., nos. 57 and 58, recently rediscovered and exhibited; A. Moulinier and B. Roelly, Les Mondes de Watteau, exh. cat., Chantilly, Musée Condé, 2025, nos. 28 and 29). It is far less common to encounter two separate sheets joined together to create a larger format. It is difficult to determine whether this assemblage was carried out by Watteau himself. Nevertheless, the subject matter and dating of the drawings are sufficiently consistent to suggest that the artist may indeed have been responsible.
Another element supports this hypothesis. An unpublished drawing on the verso of this large composite sheet becomes visible when viewed with transmitted light. It depicts a male head turned to the left, together with a pair of legs drawn from the calves downward, which almost certainly belong to the same figure. Although the verso can only be examined indirectly (because the two joined sheets are mounted onto a single backing sheet), it reveals a striking stylistic contrast with the recto.
Watteau frequently reused paper available in his studio, particularly blank areas left unused on earlier sheets, returning several years later to complete drawings whose empty spaces had remained untouched. He also drew on sheets previously used by other artists, notably Charles de La Fosse (Paris, Musée du Louvre, inv. 33375, recto; Rosenberg and Prat, op. cit., no. 377).
The reclining figure on the verso may be compared with another found on a sheet in the collection of the École nationale supérieure des Beaux-Arts in Paris (inv. 1609; Rosenberg and Prat, op. cit., no. EBA184). Similarities may be observed in the treatment of the figures' profiles, the modelling of the calves, and the rendering of the shoes. That drawing has been dated to around 1712-1713 in connection with one of the only two known tableaux de mode painted by Watteau, The Conversation (Toledo Museum of Art, Ohio, inv. 1971.152).
This sheet bears witness to Watteau's remarkable persistence in his approach to drawing. The way he worked on his graphic oeuvre suggests that he repeatedly revisited, consulted, and reconsidered sheets executed many years earlier. Reusing an abandoned studio sheet was a common practice for him and implies that the drawing originally executed on what later became the verso had at one stage been judged by the artist to be of little interest. Approximately five years after sketching the reclining male figure, Watteau reused the reverse to create the kind of figures that became emblematic of his art: three half-length male studies, executed with a rapid, economical, and at times highly suggestive line. Comparing the two sides of the present sheet allows one to appreciate the stylistic changes and artistic evolution of Watteau's extraordinary genius as a draftsman.
Dr. Axel Moulinier
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA