{"id":1585,"date":"2014-05-22T15:36:30","date_gmt":"2014-05-22T14:36:30","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=1585"},"modified":"2017-12-18T09:05:48","modified_gmt":"2017-12-18T08:05:48","slug":"watteau-fragonard-les-fetes-galantes","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/","title":{"rendered":"De Watteau \u00e0 Fragonard : les f\u00eates galantes"},"content":{"rendered":"<p style=\"text-align: justify\"><strong>Le Mus\u00e9e Jacquemart-Andr\u00e9 pr\u00e9sente jusqu&rsquo;au 21 juillet 2014, une grande exposition sur la peinture fran\u00e7aise du XVIIIe si\u00e8cle et ses ma\u00eetres.<\/strong> \u00c0 cette occasion, il r\u00e9unit une soixantaine d\u2019oeuvres, essentiellement des peintures provenant d\u2019importantes collections, le plus souvent publiques, fran\u00e7aises, allemandes, anglaises ou encore am\u00e9ricaines.<\/p>\n<p style=\"text-align: justify\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg\" data-lightbox=\"gal[1585]\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1587\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/esklmlpo\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg?fit=506%2C317&amp;ssl=1\" data-orig-size=\"506,317\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1400775205&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg?fit=300%2C187&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg?fit=506%2C317&amp;ssl=1\" class=\"aligncenter size-full wp-image-1587\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg?resize=506%2C317\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"506\" height=\"317\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg?w=506&amp;ssl=1 506w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/esklmlpo.jpg?resize=300%2C187&amp;ssl=1 300w\" sizes=\"auto, (max-width: 506px) 100vw, 506px\" \/><\/a><br \/>\n<span style=\"color: #ff0000\">L<\/span>e terme de \u00ab f\u00eate galante \u00bb d\u00e9signe un genre pictural qui \u00e9clot au d\u00e9but du XVIIIe si\u00e8cle, pendant la R\u00e9gence (1715-1723), autour de la figure embl\u00e9matique d\u2019Antoine Watteau (1684-1721). Dans des d\u00e9cors champ\u00eatres \u00e0 la v\u00e9g\u00e9tation luxuriante, Watteau met en sc\u00e8ne le sentiment amoureux : danseurs, belles dames ou bergers s\u2019adonnent \u00e0 des divertissements ou \u00e0 des confidences.<\/p>\n<p><span style=\"color: #ff0000\">\u00c0<\/span> la suite du ma\u00eetre, Nicolas Lancret (1690-1743) et Jean-Baptiste Pater (1695-1736) s\u2019approprient les codes de la f\u00eate galante, qu\u2019ils font \u00e9voluer. Ils ancrent ces sc\u00e8nes imaginaires dans la r\u00e9alit\u00e9 en y reproduisant des lieux, des oeuvres d\u2019art ou des d\u00e9tails ais\u00e9ment reconnaissables par leurs contemporains.<\/p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"665\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/rhDz8EYGKMM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=fr-FR&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">L<\/span>es artistes les plus cr\u00e9atifs, comme Fran\u00e7ois Boucher (1703-1770) et Jean-Honor\u00e9 Fragonard (1732-1806), donneront \u00e0 leur tour une vision tr\u00e8s personnelle des plaisirs de la f\u00eate galante. La po\u00e9sie et la l\u00e9g\u00e8ret\u00e9 qui se d\u00e9gagent de leurs oeuvres s\u2019accompagnent d\u2019une recherche d\u2019\u00e9l\u00e9gance et de raffinement propres \u00e0 l\u2019esprit rococo qui s\u2019\u00e9panouit au si\u00e8cle des Lumi\u00e8res, maniant avec brio les lignes courbes et les couleurs claires.<\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">L<\/span>e th\u00e8me de la f\u00eate galante a tout naturellement trouv\u00e9 sa place au Mus\u00e9e Jacquemart-Andr\u00e9, dont la collection de peintures fran\u00e7aises du XVIIIe si\u00e8cle, r\u00e9unies par N\u00e9lie Jacquemart et \u00c9douard Andr\u00e9, est l\u2019un des joyaux.<\/p>\n<p>PARCOURS DE L\u2019EXPOSITION<\/p>\n<p style=\"text-align: justify\"><strong>Salle 1\u00a0&#8211; Antoine Watteau,\u00a0 aux origines de la F\u00eate galante<\/strong><br \/>\nAu d\u00e9but du XVIIIe si\u00e8cle, Antoine Watteau red\u00e9couvre la tradition de la pastorale d\u00e9velopp\u00e9e par les artistes v\u00e9nitiens et flamands des XVIe et XVIIe si\u00e8cles. Inspir\u00e9 par ces images d\u2019une vie insouciante dans les campagne, Watteau transforme la pastorale pour la rendre \u00e0 la fois moderne et profond\u00e9ment fran\u00e7aise. Il peint des sc\u00e8nes d\u2019une grande d\u00e9licatesse, peupl\u00e9es de jeunes Parisiens \u00e0 la mode.<\/p>\n<figure id=\"attachment_1593\" aria-describedby=\"caption-attachment-1593\" style=\"width: 674px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1593\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/hjjkjkl\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?fit=674%2C459&amp;ssl=1\" data-orig-size=\"674,459\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1400776016&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"Antoine Watteau (1684 \u2013 1721) &amp;#8211; F\u00eate galante avec joueur de guitare.\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Antoine Watteau (1684 \u2013 1721) &amp;#8211; F\u00eate galante avec joueur de guitare. Vers 1717-1719, huile sur toile,&lt;br \/&gt;\n(c) Berlin, Staatliche Museen zu Berlin, Gem\u00e4ldegalerie&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?fit=300%2C204&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?fit=665%2C453&amp;ssl=1\" class=\"wp-image-1593 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?resize=665%2C453\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"665\" height=\"453\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?w=674&amp;ssl=1 674w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?resize=300%2C204&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/hjjkjkl.jpg?resize=620%2C422&amp;ssl=1 620w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-1593\" class=\"wp-caption-text\"><strong>Antoine Watteau (1684 \u2013 1721) &#8211; F\u00eate galante avec joueur de guitare. Vers 1717-1719,<\/strong><br \/> (c) Berlin, Staatliche Museen zu Berlin, Gem\u00e4ldegalerie<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><strong>Salle 2\u00a0\u2013 Lancret, Pater\u2026 l\u2019\u00e9panouissement du genre<\/strong><\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">E<\/span>ncourag\u00e9s par le succ\u00e8s des F\u00eates galantes, les artistes majeurs de la g\u00e9n\u00e9ration de Watteau sont s\u00e9duits par la souplesse de ce nouveau genre pictural qu\u2019ils adoptent sans tarder. Watteau ne dirige pas d\u2019atelier et n\u2019a donc presque pas eu d\u2019\u00e9l\u00e8ves, mais, d\u00e8s la fin des ann\u00e9es 1710, de nombreux peintres copient ses \u0153uvres ou s\u2019en inspirent et deviennent de v\u00e9ritables suiveurs.<\/p>\n<figure id=\"attachment_1591\" aria-describedby=\"caption-attachment-1591\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1591\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/lancret_les_plaisirs_du_bain_-_retouche_lc_0\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?fit=700%2C449&amp;ssl=1\" data-orig-size=\"700,449\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"lancret_les_plaisirs_du_bain_-_retouche_lc_0\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Nicolas Lancret (1690-1743) &amp;#8211; F\u00eate Galante avec la Camargo dansant avec un partenaire &amp;#8211; Vers 1727-1728&lt;\/p&gt;\n&lt;p&gt;(c) National Gallery of art, Washington,  Andrew W. Mellon collection&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?fit=300%2C192&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?fit=665%2C427&amp;ssl=1\" class=\"wp-image-1591 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?resize=665%2C427\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"665\" height=\"427\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?resize=300%2C192&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/lancret_les_plaisirs_du_bain_-_retouche_lc_0.jpg?resize=620%2C397&amp;ssl=1 620w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-1591\" class=\"wp-caption-text\"><strong>Nicolas Lancret (1690-1743) &#8211; F\u00eate Galante avec la Camargo dansant avec un partenaire &#8211; Vers 1727-1728<\/strong><br \/> (c) National Gallery of art, Washington, Andrew W. Mellon collection<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">S<\/span>eul \u00e9l\u00e8ve connu de Watteau, Pater s\u2019est inspir\u00e9 directement de l\u2019art de son ma\u00eetre, mais il a aussi \u00e9t\u00e9 le premier \u00e0 consid\u00e9rer la f\u00eate galante comme un champ d\u2019exp\u00e9rimentation. Il a ainsi explor\u00e9 le potentiel \u00e9rotique de ces sc\u00e8nes de plein air en y introduisant des figures de baigneuses (Baigneuses \u00e0 une fontaine dans un paysage, Mus\u00e9e de Grenoble).<\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">N<\/span>icolas Lancret (1690 \u2013 1743) s\u2019est lui aussi largement inspir\u00e9 de l\u2019art de Watteau, sans jamais se laisser intimider par cet illustre mod\u00e8le, ce qui lui a permis de d\u00e9velopper une esth\u00e9tique tr\u00e8s personnelle. En r\u00e9interpr\u00e9tant \u00e0 son tour les th\u00e8mes de pr\u00e9dilection de Watteau, Lancret poursuit la tradition d\u2019innovation qui caract\u00e9rise la f\u00eate galante.<\/p>\n<p style=\"text-align: justify\"><strong>Salle 3\u00a0\u2013 Watteau, le processus cr\u00e9atif<\/strong><\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">M<\/span>oins connus que ses tableaux, les dessins de Watteau sont pourtant une facette passionnante de son \u0153uvre, car ils illustrent parfaitement le processus cr\u00e9atif de l\u2019artiste. Pour peindre une F\u00eate galante, Watteau opte pour une m\u00e9thode originale\u00a0: il n\u2019h\u00e9site pas \u00e0 combiner sur sa toile plusieurs croquis, dont certains ont parfois \u00e9t\u00e9 r\u00e9alis\u00e9s plusieurs ann\u00e9es auparavant. \u00a0Brillant dessinateur et dou\u00e9 d\u2019un grand sens de l\u2019observation, Watteau r\u00e9alise de nombreux croquis et dispose ainsi d\u2019un important r\u00e9pertoire de feuilles pr\u00e9paratoires qu\u2019il se pla\u00eet ensuite \u00e0 int\u00e9grer dans ses tableaux.<\/p>\n<figure id=\"attachment_1592\" aria-describedby=\"caption-attachment-1592\" style=\"width: 407px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1592\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/watteau_pierrot_content_0\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg?fit=407%2C460&amp;ssl=1\" data-orig-size=\"407,460\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"Antoine Watteau (1684-1721) &amp;#8211; Pierrot content \" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Antoine Watteau (1684-1721) &amp;#8211; Pierrot content &amp;#8211; Vers 1712-1713, huile sur toile, 35 x 31 cm &amp;#8211; Madrid, Museo Thyssen-Bornemisza&lt;br \/&gt;\n\u00a9 Museo Thyssen-Bornemisza, Madrid &lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg?fit=265%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg?fit=407%2C460&amp;ssl=1\" class=\"wp-image-1592 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg?resize=407%2C460\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"407\" height=\"460\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg?w=407&amp;ssl=1 407w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/watteau_pierrot_content_0.jpg?resize=265%2C300&amp;ssl=1 265w\" sizes=\"auto, (max-width: 407px) 100vw, 407px\" \/><\/a><figcaption id=\"caption-attachment-1592\" class=\"wp-caption-text\"><strong>Antoine Watteau (1684-1721) &#8211; Pierrot content &#8211; Vers 1712-1713<\/strong><br \/> \u00a9 Museo Thyssen-Bornemisza, Madrid<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">U<\/span>ne impression de grande spontan\u00e9it\u00e9 se d\u00e9gage des dessins de Watteau. Cela tient \u00e0 la vivacit\u00e9 de son trait et \u00e0 la libert\u00e9 de sa touche qui restituent avec beaucoup de naturel les mouvements et les attitudes de ses mod\u00e8les. Il excelle aussi dans le rendu des tissus &#8211; la souplesse d\u2019une \u00e9toffe, les pliss\u00e9s d\u2019une robe.<\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">L<\/span>a talent de dessinateur de Watteau s\u2019exprime autant dans ses \u00e9tudes \u00e0 la sanguine, que dans celles \u00e0 la pierre noire ou \u00e0 la technique des trois crayons, ce qui confirme l\u2019\u00e9tendue de son g\u00e9nie artistique. Tr\u00e8s influenc\u00e9s par son oeuvre, ses suiveurs Pater et Lancret s\u2019inspirent aussi de ses dessins dans leurs \u00e9tudes qui donnent au spectateur un m\u00eame sentiment d\u2019imm\u00e9diatet\u00e9.<\/p>\n<p style=\"text-align: justify\"><strong>Salles 4 et 5 \u2013 De l\u2019imaginaire vers la r\u00e9alit\u00e9<\/strong><\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">D<\/span>\u2019abord inspir\u00e9e de la tradition de la Pastorale, la F\u00eate galante s\u2019est pr\u00eat\u00e9e \u00e0 de multiples d\u00e9veloppements tout au long du XVIIIe si\u00e8cle et s\u2019est enrichie de plusieurs th\u00e9matiques. L\u2019introduction d\u2019\u00e9l\u00e9ments r\u00e9els dans ce genre pictural domin\u00e9 par l\u2019imaginaire et la fantaisie est sans doute l\u2019une des innovations les plus surprenantes qu\u2019il ait accueillies.<strong>\u00a0<\/strong><\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">C<\/span>ette inflexion a \u00e9t\u00e9 le fait des successeurs imm\u00e9diats de Watteau, et en premier lieu de Pater et de Lancret, qui ont int\u00e9gr\u00e9 dans leurs tableaux des \u00e9l\u00e9ments r\u00e9els, qu\u2019il s\u2019agisse d\u2019oeuvres d\u2019art, de d\u00e9tails dans les costumes ou de lieux facilement identifiables par leurs contemporains.<\/p>\n<figure id=\"attachment_1589\" aria-describedby=\"caption-attachment-1589\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1589\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?fit=700%2C443&amp;ssl=1\" data-orig-size=\"700,443\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"fragonard_la_fete_a_saint-cloud_-_retouche_cl_0\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jean-Honor\u00e9 Fragonard (1732-1806) &amp;#8211; La F\u00eate \u00e0 Saint-Cloud &amp;#8211; Vers 1775-1780&lt;\/p&gt;\n&lt;p&gt;(c) Paris, H\u00f4tel de Toulouse, si\u00e8ge de la Banque de France&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?fit=300%2C189&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?fit=665%2C421&amp;ssl=1\" class=\"wp-image-1589 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?resize=665%2C421\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"665\" height=\"421\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?resize=300%2C189&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_fete_a_saint-cloud_-_retouche_cl_0.jpg?resize=620%2C392&amp;ssl=1 620w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-1589\" class=\"wp-caption-text\"><strong>Jean-Honor\u00e9 Fragonard (1732-1806) &#8211; La F\u00eate \u00e0 Saint-Cloud &#8211; Vers 1775-1780<\/strong><br \/> (c) Paris, H\u00f4tel de Toulouse, si\u00e8ge de la Banque de France<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">U<\/span>ne autre facette de la r\u00e9alit\u00e9 est exploit\u00e9e par les peintres de f\u00eates galantes, qui se font portraitistes. Raffin\u00e9s et po\u00e9tiques, les paysages champ\u00eatres qu\u2019ils peignent sont un parfait \u00e9crin pour mettre en valeur un groupe familial ou de c\u00e9l\u00e8bres danseuses pratiquant leur art, entour\u00e9es de musiciens et d\u2019admirateurs<\/p>\n<p style=\"text-align: justify\"><strong>Salle 6 \u2013 Raffinement et exotisme<\/strong><\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">L<\/span>es commanditaires aiment retrouver dans les F\u00eates galantes qu\u2019ils acqui\u00e8rent l\u2019atmosph\u00e8re de leurs f\u00eates et promenades parisiennes, mais ils partagent avec les artistes une m\u00eame fascination pour l\u2019Orient et plus particuli\u00e8rement pour la Chine. Ils se plaisent \u00e0 d\u00e9corer leurs appartements de sc\u00e8nes \u00e9voquant les myst\u00e8res et les charmes de ces lointaines contr\u00e9es.<\/p>\n<figure id=\"attachment_1594\" aria-describedby=\"caption-attachment-1594\" style=\"width: 361px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1594\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/fragonard_la_main_chaude_-_retouche_cl_0-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg?fit=361%2C460&amp;ssl=1\" data-orig-size=\"361,460\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"fragonard_la_main_chaude_-_retouche_cl_0\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jean-Honor\u00e9 Fragonard (1732-1806) &amp;#8211; Le Jeu de la Main chaude &amp;#8211; Vers 1775-1780&lt;\/p&gt;\n&lt;p&gt;(c) D.C., National Gallery of art, Washington, Samuel H. Kress collection&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg?fit=235%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg?fit=361%2C460&amp;ssl=1\" class=\"wp-image-1594 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg?resize=361%2C460\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"361\" height=\"460\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg?w=361&amp;ssl=1 361w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_la_main_chaude_-_retouche_cl_01.jpg?resize=235%2C300&amp;ssl=1 235w\" sizes=\"auto, (max-width: 361px) 100vw, 361px\" \/><\/a><figcaption id=\"caption-attachment-1594\" class=\"wp-caption-text\"><strong>Jean-Honor\u00e9 Fragonard (1732-1806) &#8211; Le Jeu de la Main chaude &#8211; Vers 1775-1780<\/strong><br \/> (c) D.C., National Gallery of art, Washington, Samuel H. Kress collection<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><strong>Salles 7 et 8 \u2013 Boucher et Fragonard, les derniers ma\u00eetres de la F\u00eate galante<\/strong><\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">L<\/span>e genre de la F\u00eate galante continue \u00e0 s\u2019\u00e9panouir bien apr\u00e8s le milieu du XVIIIe si\u00e8cle. Deux figures majeures de l\u2019art fran\u00e7ais avant la R\u00e9volution vont s\u2019y consacrer avec brio\u00a0: Fran\u00e7ois Boucher et Jean-Honor\u00e9 Fragonard. Entre leurs mains, la F\u00eate galante prend un tour nouveau et surprenant, passant de la repr\u00e9sentation d\u2019une r\u00e9alit\u00e9 contemporaine \u00e0 celle d\u2019une r\u00e9alit\u00e9 visionnaire, plus fantaisiste.<\/p>\n<figure id=\"attachment_1586\" aria-describedby=\"caption-attachment-1586\" style=\"width: 675px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1586\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?fit=675%2C460&amp;ssl=1\" data-orig-size=\"675,460\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Fran\u00e7ois Boucher (1703-1770) &amp;#8211; Les Charmes de la vie champ\u00eatre&lt;br \/&gt;\n(c) Mus\u00e9e du Louvre, D\u00e9partement des Peintures, Paris&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?fit=300%2C204&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?fit=665%2C453&amp;ssl=1\" class=\"wp-image-1586 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?resize=665%2C453\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"665\" height=\"453\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?w=675&amp;ssl=1 675w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?resize=300%2C204&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/boucher_les_charmes_de_la_vie_champetre_-_retouche_cl_0.jpg?resize=620%2C422&amp;ssl=1 620w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-1586\" class=\"wp-caption-text\"><strong>Fran\u00e7ois Boucher (1703-1770) &#8211; Les Charmes de la vie champ\u00eatre<\/strong><br \/> (c) Mus\u00e9e du Louvre, D\u00e9partement des Peintures, Paris<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\"> A<\/span>u cours du r\u00e8gne de Louis XV et des premi\u00e8res ann\u00e9es du r\u00e8gne de Louis XVI, le go\u00fbt des commanditaires se porte davantage vers une peinture d\u00e9corative que vers la peinture d\u2019histoire. Les th\u00e8mes embl\u00e9matiques \u2013 la promenade, les jeux, la musique et la danse \u2013 de la f\u00eate galante refl\u00e8tent parfaitement cet int\u00e9r\u00eat et l\u2019engouement pour ce genre ne faiblit pas. Les artistes de cette p\u00e9riode lui donnent une nouvelle inflexion, en y ajoutant une note d\u2019extravagance.<\/p>\n<figure id=\"attachment_1588\" aria-describedby=\"caption-attachment-1588\" style=\"width: 246px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"1588\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/fragonard_-_la_surprise\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg?fit=246%2C460&amp;ssl=1\" data-orig-size=\"246,460\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;}\" data-image-title=\"fragonard_-_la_surprise\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Jean-Honor\u00e9 Fragonard (1732-1806) &amp;#8211; Esquisse pour La Surprise (L\u2019Escalade) &amp;#8211; Vers 1771&lt;\/p&gt;\n&lt;p&gt;\u00a9 clich\u00e9 mus\u00e9es d\u2019Angers, photo P. David&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg?fit=160%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg?fit=246%2C460&amp;ssl=1\" class=\"wp-image-1588 size-full\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg?resize=246%2C460\" alt=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes\" width=\"246\" height=\"460\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg?w=246&amp;ssl=1 246w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2014\/05\/fragonard_-_la_surprise.jpg?resize=160%2C300&amp;ssl=1 160w\" sizes=\"auto, (max-width: 246px) 100vw, 246px\" \/><\/a><figcaption id=\"caption-attachment-1588\" class=\"wp-caption-text\"><strong>Jean-Honor\u00e9 Fragonard (1732-1806) &#8211; Esquisse pour La Surprise<\/strong> &#8211; Vers 1771<br \/> \u00a9 clich\u00e9 mus\u00e9es d\u2019Angers, photo P. David<\/figcaption><\/figure>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">C<\/span>\u2019est avec Fragonard que cette recherche esth\u00e9tique atteint son apog\u00e9e. Ses f\u00eates galantes, dans lesquelles la nature tient une place pr\u00e9pond\u00e9rante, comptent parmi les plus belles du genre. Il r\u00e9alise notamment un cycle d\u00e9coratif aux dimensions monumentales, autour de La F\u00eate \u00e0 Saint-Cloud. Reprenant avec d\u00e9lectation le th\u00e8me des jeux propre aux f\u00eates galantes, Fragonard le sublime par les dimensions de ses toiles, mais aussi par la vivacit\u00e9 caract\u00e9ristique de sa touche. C\u2019est sous son pinceau audacieux et agile que la f\u00eate galante brille de son dernier et plus bel \u00e9clat.<\/p>\n<p style=\"text-align: justify\"><span style=\"color: #ff0000\">En savoir plus:<\/span><\/p>\n<p style=\"text-align: justify\">consulter <strong>le site du Mus\u00e9e Jacquemart-Andr\u00e9<\/strong>, 158 boulevard Haussmann 75008 Paris ( http:\/\/www.musee-jacquemart-andre.com )<\/p>\n<p style=\"text-align: justify\">ainsi que <strong>le site de l&rsquo;exposition \u00ab\u00a0De Watteau \u00e0 Fragonard : les f\u00eates galantes\u00a0\u00bb<\/strong> (http:\/\/www.watteau-fragonard.com.fr)<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le terme de \u00ab f\u00eate galante \u00bb d\u00e9signe un genre pictural qui \u00e9clot au d\u00e9but du XVIIIe si\u00e8cle, pendant la R\u00e9gence (1715-1723), autour de la figure embl\u00e9matique d\u2019Antoine Watteau (1684-1721). Dans des d\u00e9cors champ\u00eatres \u00e0 la v\u00e9g\u00e9tation luxuriante, Watteau met en sc\u00e8ne le sentiment amoureux : danseurs, belles dames ou bergers s\u2019adonnent \u00e0 des divertissements ou \u00e0 des confidences.<\/p>\n","protected":false},"author":6,"featured_media":1589,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[12],"tags":[295,32],"class_list":["post-1585","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expositions","tag-fetes-galantes","tag-peinture"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>De Watteau \u00e0 Fragonard : les f\u00eates galantes Le Magazine de Proantic<\/title>\n<meta name=\"description\" content=\"Le terme de \u00ab f\u00eate galante \u00bb d\u00e9signe un genre pictural qui \u00e9clot au d\u00e9but du XVIIIe si\u00e8cle, pendant la R\u00e9gence (1715-1723), autour de la figure embl\u00e9matique d\u2019Antoine Watteau (1684-1721). Dans des d\u00e9cors champ\u00eatres \u00e0 la v\u00e9g\u00e9tation luxuriante, Watteau met en sc\u00e8ne le sentiment amoureux : danseurs, belles dames ou bergers s\u2019adonnent \u00e0 des divertissements ou \u00e0 des confidences.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.proantic.com\/magazine\/watteau-fragonard-les-fetes-galantes\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De Watteau \u00e0 Fragonard : les f\u00eates galantes Le Magazine de Proantic\" \/>\n<meta property=\"og:description\" content=\"Le terme de \u00ab f\u00eate galante \u00bb d\u00e9signe un genre pictural qui \u00e9clot au d\u00e9but du XVIIIe si\u00e8cle, pendant la R\u00e9gence (1715-1723), autour de la figure embl\u00e9matique d\u2019Antoine Watteau (1684-1721). 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