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#Art #Watteau

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The aéPiot Exponential Convergence Pattern: A Historic Analysis of the Internet’s First True… The aéPiot Exponential Convergence Pattern: A Historic Analysis of the Internet’s First True Semantic Growth Phenomenon

medium.com/@global.audi...

better-experience.blogspot.com/2026/01/sema...

#PŘEDSEDA #VLÁDY #SÝRIE
allgraph.ro/advanced-sea...
#ANTOINE #WATTEAU
aepiot.ro/advanced-sea...
aepiot.com

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peinture La défaite de Porus par Alexandre (1802) de François #Watteau

peinture La défaite de Porus par Alexandre (1802) de François #Watteau

326 av. J.C. : La défaite de Porus par Alexandre (1802) de François #Watteau

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Moin @moderation.bsky.app, warum kennzeichnet Ihr meinen Reskeet als "Inhalt für Erwachsene"? Auf dem #Buchcover ist ein Ausschnitt des Gemäldes "Jupiter und Antiope" von Antoine #Watteau zu sehen, keine Pornografie.

Bitte überarbeitet mal Eure Algorithmen.

Danke

de.wikipedia.org/wiki/Jupiter...

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🎨 Jean-Antoine #Watteau, French Rococo painter, was #BOTD 10 October 1684. #Art #Painting

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Storm, Cythera was completed during my artists residency at Wrexham University. It was a piece that provoked much discussion during the residency. Very much a conversation with Watteau #storm #watteau

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Colour and line: Watteau drawings Explore drawings by one of the most gifted, innovative and influential draughtsmen working in 18th-century France.

Because everything is so depressing escape is needed. Room 90 until 14.9.25 #Watteau drawings. 😊 @britishmuseum.bsky.social

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"In my view, you must either do away with ornament - or make ornament the essence. It's not something you add. It's not icing on a cake. It's everything - or it's nothing."

🎨 Jean-Antoine #Watteau, French painter, #DOTD 18 July 1721. #Art #Painting

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J. M. W. Turner - 5 April 2025 - Watteau Study by Fresno’s Rules.
#textoimage #texttoimage #aiart #williamturner #turner #tategallery #watteau #study #fresno

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Jean-Antoine Watteau, Reclining Woman, 1703.
Oil on panel

#JeanAntoineWatteau #watteau #artaddict #artaddictgalleria #art #arthistory #artdaily

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From the Commedia dell’Arte to Punch and Judy 1 Pierrot, Harlequin and other characters from the early professional theatre seen in paintings by Watteau, Goya and others.
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Antoine Watteau, Two Skeletons Carrying a Garland, detail, c. 1706 - 1708, Nationalmuseum, Stockholm

#AntoineWatteau #watteau #Skeleton #Nationalmuseum #Stockholm #oldmasters #art #artdaily #artaddict

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A full-length, long-sleeved gown of ivory silk, with a pattern of large golden roses and green leaves. The gown is seen from the side and the back of it has two large pleats at the neck, which fall down in an 18th century sackback style. The gown is seen on a mannequin that is also wearing a matching hat with a high brim. The room the mannequin is displayed in features wall panelling painted in royal blue, with gold baroque decorative details. Against the back wall, there is a black and gold lacquered commode, on which is sitting a black and gold porcelain urn and a pair of white china birds. Above the commode, on the wall, is a tall baroque gilded mirror, flanked by a pair of gilded wall candelabras. Reflected in the mirror, there is a tall fake window (this room being a smaller, alcove room within a larger gallery in the Louvre), which is dressed in long white curtains that feature a repeating floral design in navy blue. On the left of the room are two damask upholstered armchairs, one in sage green, and the other, which is in the foreground, in a shade of deep duck egg blue. In front of this chair, there's also a little wooden table with a marquetry inset pattern, curvy legs, and gilded baroque details - upon the surface of which there is sitting a glass display box, containing a porcelain tray and two tea cups. In the background on the right, there is another blue and white floral-patterned curtain hanging down to the floor - and in the foreground on the right, in front of the wedding dress, the corner of a gold silk damask-upholstered chair is also just visible.

A full-length, long-sleeved gown of ivory silk, with a pattern of large golden roses and green leaves. The gown is seen from the side and the back of it has two large pleats at the neck, which fall down in an 18th century sackback style. The gown is seen on a mannequin that is also wearing a matching hat with a high brim. The room the mannequin is displayed in features wall panelling painted in royal blue, with gold baroque decorative details. Against the back wall, there is a black and gold lacquered commode, on which is sitting a black and gold porcelain urn and a pair of white china birds. Above the commode, on the wall, is a tall baroque gilded mirror, flanked by a pair of gilded wall candelabras. Reflected in the mirror, there is a tall fake window (this room being a smaller, alcove room within a larger gallery in the Louvre), which is dressed in long white curtains that feature a repeating floral design in navy blue. On the left of the room are two damask upholstered armchairs, one in sage green, and the other, which is in the foreground, in a shade of deep duck egg blue. In front of this chair, there's also a little wooden table with a marquetry inset pattern, curvy legs, and gilded baroque details - upon the surface of which there is sitting a glass display box, containing a porcelain tray and two tea cups. In the background on the right, there is another blue and white floral-patterned curtain hanging down to the floor - and in the foreground on the right, in front of the wedding dress, the corner of a gold silk damask-upholstered chair is also just visible.

Highlights from Louvre Couture, no. 11 - a silk wedding dress and matching hat by Yves Saint Laurent, S/S 1997. The style of the gown draws inspiration from the painting The Two Cousins by Watteau (1716).
#Louvre
#couture
#fashion
#YvesSaintLaurent
#fashionhistory
#weddingdress
#Watteau
#18thcentury

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This exquisite portrait is by French artist Louis Joseph Watteau who was known as the Watteau of Lille because he was active in the city of Lille along the Deûle river in French Flanders. He played a decisive role in the foundation of what would become the Musée des Beaux-Arts de Lille, opened in 1803, by producing the first ever inventory of paintings confiscated by the state during the French Revolution.

He depicts a slender beautiful young woman with fair skin and dark brown hair styled in a softly waved manner, pulled back from her face and mostly concealed under an elaborate hat that perfectly matches her outfit. Her facial features are delicate with large, dark brown eyes, a straight nose, and a small, gently curved mouth. Her expression is somewhat serene, but with a hint of cheekiness although her cheeks show a hint of rosy blush and her lips are bright red.

It is a strikingly eye-catching costume with her large and wide-brimmed hat decorated with a geometric pattern of pink, blue, and gold triangles. A white ribbon or fabric trim borders the hat, and long white ribbons trail down from the back. Her long-sleeved dress matches the colors and geometric pattern of her hat and features a series of decorative buttons extending from the high neckline to the waist area. She wears a long clean white glove on her right hand holding a dark-colored party mask In the nook of her left elbow.

The woman is officially unidentified, but some believe it is opera singer Teresa Imer (aka Teresa Cornelys). In the middle of the 18th century, she was the first woman to lead the Theater van het Tapissierspand, the opera of Antwerp. She enjoyed an adventurous life that took her to many major European cities, from Venice and Vienna to Paris and London. She famously had numerous lovers, including Casanova -- yep, that Casanova -- who was the father of her daughter in 1754.

This exquisite portrait is by French artist Louis Joseph Watteau who was known as the Watteau of Lille because he was active in the city of Lille along the Deûle river in French Flanders. He played a decisive role in the foundation of what would become the Musée des Beaux-Arts de Lille, opened in 1803, by producing the first ever inventory of paintings confiscated by the state during the French Revolution. He depicts a slender beautiful young woman with fair skin and dark brown hair styled in a softly waved manner, pulled back from her face and mostly concealed under an elaborate hat that perfectly matches her outfit. Her facial features are delicate with large, dark brown eyes, a straight nose, and a small, gently curved mouth. Her expression is somewhat serene, but with a hint of cheekiness although her cheeks show a hint of rosy blush and her lips are bright red. It is a strikingly eye-catching costume with her large and wide-brimmed hat decorated with a geometric pattern of pink, blue, and gold triangles. A white ribbon or fabric trim borders the hat, and long white ribbons trail down from the back. Her long-sleeved dress matches the colors and geometric pattern of her hat and features a series of decorative buttons extending from the high neckline to the waist area. She wears a long clean white glove on her right hand holding a dark-colored party mask In the nook of her left elbow. The woman is officially unidentified, but some believe it is opera singer Teresa Imer (aka Teresa Cornelys). In the middle of the 18th century, she was the first woman to lead the Theater van het Tapissierspand, the opera of Antwerp. She enjoyed an adventurous life that took her to many major European cities, from Venice and Vienna to Paris and London. She famously had numerous lovers, including Casanova -- yep, that Casanova -- who was the father of her daughter in 1754.

Un Domino (aka Young Woman with Mask) by Watteau de Lille (aka Louis Joseph Watteau, French) - Oil on canvas / c. 1760-1780 - Museum Vleeshuis (Antwerp, Belgium) #womeninart #art #WatteaudeLille #Watteau #LouisJosephWatteau #artwork #womensart #portraitofawoman #MuseumVleeshuis #KlankvandeStad

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French master’s paintings saved from California blaze go on show Lionel Sauvage, thought to have the world’s largest private collection of Antoine Watteau’s works, managed to stash the pieces in his basement

www.thetimes.com/world/europe...
A collector w heart and brains. I'm not a massive #Watteau fan, but so glad that these works got saved.

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Dazzling sheet by Antoine Watteau from the Louvre. It shows three heads well placed in their historical and cultural context that translate both aesthetic and ethnographic interest of the artist #watteau #drawing #louvre

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What Ho, #Watteau!

Is it just me, but all Watteau men look as if they were rather they were somewhere else - and dressed differently, too - while all the women look like they're expecting something to get a slow party started.

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Sauvées miraculeusement des incendies de Los Angeles, des œuvres de Watteau exposées à Chantilly Le musée Condé expose à partir de samedi une cinquantaine d'œuvres du peintre des fêtes galantes, dont celles d'un collectionneur qui a sauvé ses toiles des flammes, en janvier dernier, à Los Angeles.

🔥💔 Sauvées des flammes de Los Angeles, des œuvres de Watteau seront exposées au château de Chantilly du 8 mars 2025 au 15 juin 2025. Le collectionneur Lionel Sauvage a risqué sa vie pour les sauver ! 🎨 #Watteau #Chantilly #Art

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« Dieu merci, j’étais là » : sauvées des flammes de Los Angeles, des œuvres de Watteau exposées à Chantilly Décrochées du mur d’une villa menacée par les incendies de Los Angeles, abritée...

#Watteau : Une histoire qui finit bien pour les œuvres du célèbre peintre valenciennois... On pourra admirer les tableaux sauvés des flammes lors d'une exposition rétrospective à Chantilly

www.lavoixdunord.fr/1560382/arti...

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📖 PIERRE MICHON

Maîtres et serviteurs
Éditions Verdier

#pierremichon #maitresetserviteurs #litterature #goya #watteau #lorentino #peintre #editionsverdier #lecturedujour

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Au XXe et XXIe siècle, Pierrot reste un personnage emblématique qui inspire les artistes de la modernité @museelouvre.bsky.social #muséelouvre #art #exposition #RevoirWatteau #Watteau #derniersjours

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Au XIXe siècle, la silhouette du Pierrot s’affine, jusqu’à devenir androgyne. Sa personnalité, plus rêveuse, en devient inquiétante, voire tragique
@museelouvre.bsky.social #muséelouvre #art #exposition #RevoirWatteau #Watteau #derniersjours

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Après 1720, un Pierrot peut en cacher un autre : le Gilles, alter égo qui triomphe jusqu’à la fin du siècle @museelouvre.bsky.social #muséelouvre #art #exposition #RevoirWatteau #Watteau #derniersjours

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#Watteau développe une production personnelle où le répertoire théâtral comique tient une place importante @museelouvre.bsky.social #muséelouvre #art #exposition #RevoirWatteau #derniersjours

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Pierrot est un personnage type de la pantomime et de la commedia dell'arte dont les origines remontent à la fin du XVIIe siècle au Théâtre italien de Paris @museelouvre.bsky.social #muséelouvre #art #exposition #RevoirWatteau #Watteau #derniersjours

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Au clair de la lune, mon ami Pierrot...
Plus que quelques jours pour "Revoir #Watteau" et observer à la loupe la restauration du "tableau le plus énigmatique du Louvre" qui a inspiré tant d’artistes @museelouvre.bsky.social #muséelouvre #art #exposition #RevoirWatteau #derniersjours

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#LucianFreud, Large Interior W.11 (after #Watteau), 1981-1983, Oil on canvas, 72 1/4 x 78 inches (186 x 198 cm), Formerly of the Paul Allen Collection

#ContemporaryArt, #BritishArt, #Portraiture, #Painting, #Realism

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