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Nu masculin assis (recto); Homme nu en buste, les bras levés (verso)
细节
ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE)
Nu masculin assis (recto); Homme nu en buste, les bras levés (verso)
pierre noire, sanguine, traces de craie blanche
14,9 x 17,3 cm (5 7⁄8 x 6 ¾ in.)
Nu masculin assis (recto); Homme nu en buste, les bras levés (verso)
pierre noire, sanguine, traces de craie blanche
14,9 x 17,3 cm (5 7⁄8 x 6 ¾ in.)
来源
François Flameng (1856-1923), Paris, (Lugt 991); sa vente, galerie Georges Petit, Paris, 26-27 mai 1919, lot 164 (adjugé 10.100 francs).
Acquis au cours de celle-ci par Marius Paulme (1863-1928), Paris.
Lucien Guiraud (1886-1952); sa vente, Hôtel Drouot, Paris, 15 juin 1956, lot 76, pl. XVII (adjugé 2 083 500 francs).
Acquis au cours de celle-ci par Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
Acquis au cours de celle-ci par Marius Paulme (1863-1928), Paris.
Lucien Guiraud (1886-1952); sa vente, Hôtel Drouot, Paris, 15 juin 1956, lot 76, pl. XVII (adjugé 2 083 500 francs).
Acquis au cours de celle-ci par Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
出版
K.T. Parker, J. Mathey, Antoine Watteau, Catalogue complet des œuvres dessinés, Paris, 1957, I., n° 514, ill.
P. Rosenberg, M. Morgan Grasselli, Antoine Watteau (1684-1721), Paris, 1984, n° 67.
P. Rosenberg, L.-A. Prat, Antoine Watteau 1684-1721: Catalogue raisonné des dessins, Milan, 1996, I., n° 276, ill.
P. Rosenberg, M. Morgan Grasselli, Antoine Watteau (1684-1721), Paris, 1984, n° 67.
P. Rosenberg, L.-A. Prat, Antoine Watteau 1684-1721: Catalogue raisonné des dessins, Milan, 1996, I., n° 276, ill.
展览
Paris, Galerie Cailleux, Le dessin français de Watteau à Prud'hon, 1951, n° 169. Washington-Paris-Berlin, National Gallery, Washington, Galeries Nationales du Grand Palais, Paris, Charlottenbourg, Berlin, Watteau, 1684-1721, 1984-1985, n° 67, ill.
更多详情
JEAN-ANTOINE WATTEAU, NUDE MAN SEATED ON THE GROUND (RECTO); A NUDE MAN IN HALF-LENGTH, WITH HIS ARMS RAISED (VERSO), BLACK AND RED CHALK
This young male nude seated on the ground demonstrates the speed with which Antoine Watteau sometimes sought to capture a pose directly from life. The vigorous combination of black chalk and red chalk, handled with remarkable freedom, lends this sheet a distinctive vitality.
This drawing has been associated with the Crozat Seasons, the set of four paintings intended to decorate the dining room of the hôtel particulier located on the Rue de Richelieu in Paris belonging to Watteau's patron and friend, Pierre Crozat (1665-1740), Treasurer of France, and one of the greatest art collectors of his time. The series was painted around 1715-1717 under exceptional circumstances (see Rosenberg and Prat, op. cit.).
In October 1715, Crozat returned to Paris after a stay in Italy, where he had been negotiating the purchase of works of art for the Regent, Philippe d'Orléans (1674-1723). It was most likely at this time that he commissioned Charles de La Fosse (1636-1716) to produce the series known as the Crozat Seasons. This decorative project was of particular significance because it brought together the talents of an artist whose reputation was already firmly established, Charles de La Fosse, then seventy-nine years old, and that of a much younger and emerging painter, Antoine Watteau, then thirty-one. The two artists had maintained close ties for several years; early biographies of Watteau record that La Fosse had supported Watteau's admission to the Royal Academy of Painting and Sculpture in 1712.
As François Marandet has argued, La Fosse most likely supplied preparatory drawings (two of which are preserved in the Louvre) and offered guidance to Watteau, who ultimately executed all four paintings (F. Marandet, Nouvelles hypothèses sur la genèse du décor peint de la salle à manger de l’hôtel Crozat, in B. Sarrazin and O. Bonfait (eds.), Charles de La Fosse et les arts en France autour de 1700, conference proceedings, Château de Versailles, 18-19 May 2015, available online). Of the four paintings, only Summer survives (National Gallery of Art, Washington), while Spring was destroyed two years after its rediscovery (M. M. Grasselli and P. Rosenberg (eds.), Watteau, exhibition catalogue, Paris, Grand Palais, 1984, under no. P35). The compositions are documented by engravings by Louis Desplaces (Spring, fig. 1), Jean Audran (Winter, fig. 2), Marie Jeanne Renard du Bos (Summer), and Étienne Fessard (Autumn).
Alongside the present sheet, several studies of male and female nudes are known in connection with this series (Rosenberg and Prat, op. cit., nos. 370–372). The previously unpublished verso of the present drawing, depicting the upper body of a nude man with his arms raised, seen da sotto in su (from below), enlarges this corpus.
This previously unpublished figure should now be included among the preparatory drawings for the Crozat Seasons. It may represent an initial conception for the figure holding a sheaf of wheat in the figure of Zephyr in Spring (fig. 1) or in Winter (fig. 2). Despite its unfinished state, the unpublished verso, together with the recto, contradicts the well-known remarks of Watteau's friend, the Comte de Caylus (1692-1765), who claimed that:
'Having no knowledge of anatomy, and having scarcely ever drawn from the nude, Watteau neither understood nor could properly render it; indeed, the very conception of an academic nude was laborious and disagreeable to him.'
The group of studies for the Crozat Seasons, together with the present drawing, invites a more nuanced assessment of these rather severe comments made by one of Watteau's closest, and most celebrated friends.
Dr. Axel Moulinier
Fig. 1 : L. Desplaces, after A. Watteau, Le Printems, print, Bibliothèque nationale de France, département Estampes et photographie.
Fig. 2 : J. Audran, after A. Watteau, L'Hyver, print, Bibliothèque nationale de France, département Estampes et photographie.
This young male nude seated on the ground demonstrates the speed with which Antoine Watteau sometimes sought to capture a pose directly from life. The vigorous combination of black chalk and red chalk, handled with remarkable freedom, lends this sheet a distinctive vitality.
This drawing has been associated with the Crozat Seasons, the set of four paintings intended to decorate the dining room of the hôtel particulier located on the Rue de Richelieu in Paris belonging to Watteau's patron and friend, Pierre Crozat (1665-1740), Treasurer of France, and one of the greatest art collectors of his time. The series was painted around 1715-1717 under exceptional circumstances (see Rosenberg and Prat, op. cit.).
In October 1715, Crozat returned to Paris after a stay in Italy, where he had been negotiating the purchase of works of art for the Regent, Philippe d'Orléans (1674-1723). It was most likely at this time that he commissioned Charles de La Fosse (1636-1716) to produce the series known as the Crozat Seasons. This decorative project was of particular significance because it brought together the talents of an artist whose reputation was already firmly established, Charles de La Fosse, then seventy-nine years old, and that of a much younger and emerging painter, Antoine Watteau, then thirty-one. The two artists had maintained close ties for several years; early biographies of Watteau record that La Fosse had supported Watteau's admission to the Royal Academy of Painting and Sculpture in 1712.
As François Marandet has argued, La Fosse most likely supplied preparatory drawings (two of which are preserved in the Louvre) and offered guidance to Watteau, who ultimately executed all four paintings (F. Marandet, Nouvelles hypothèses sur la genèse du décor peint de la salle à manger de l’hôtel Crozat, in B. Sarrazin and O. Bonfait (eds.), Charles de La Fosse et les arts en France autour de 1700, conference proceedings, Château de Versailles, 18-19 May 2015, available online). Of the four paintings, only Summer survives (National Gallery of Art, Washington), while Spring was destroyed two years after its rediscovery (M. M. Grasselli and P. Rosenberg (eds.), Watteau, exhibition catalogue, Paris, Grand Palais, 1984, under no. P35). The compositions are documented by engravings by Louis Desplaces (Spring, fig. 1), Jean Audran (Winter, fig. 2), Marie Jeanne Renard du Bos (Summer), and Étienne Fessard (Autumn).
Alongside the present sheet, several studies of male and female nudes are known in connection with this series (Rosenberg and Prat, op. cit., nos. 370–372). The previously unpublished verso of the present drawing, depicting the upper body of a nude man with his arms raised, seen da sotto in su (from below), enlarges this corpus.
This previously unpublished figure should now be included among the preparatory drawings for the Crozat Seasons. It may represent an initial conception for the figure holding a sheaf of wheat in the figure of Zephyr in Spring (fig. 1) or in Winter (fig. 2). Despite its unfinished state, the unpublished verso, together with the recto, contradicts the well-known remarks of Watteau's friend, the Comte de Caylus (1692-1765), who claimed that:
'Having no knowledge of anatomy, and having scarcely ever drawn from the nude, Watteau neither understood nor could properly render it; indeed, the very conception of an academic nude was laborious and disagreeable to him.'
The group of studies for the Crozat Seasons, together with the present drawing, invites a more nuanced assessment of these rather severe comments made by one of Watteau's closest, and most celebrated friends.
Dr. Axel Moulinier
Fig. 1 : L. Desplaces, after A. Watteau, Le Printems, print, Bibliothèque nationale de France, département Estampes et photographie.
Fig. 2 : J. Audran, after A. Watteau, L'Hyver, print, Bibliothèque nationale de France, département Estampes et photographie.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA