Word: watteau
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Thaw, 47, is probably the most successful private art dealer of his generation. His special interest as a collector, however, is master drawings, which he began to buy in the early '50s. The whole collection-including numerous works by Era Bartolomeo, Rembrandt, the Tiepolos, Rubens, Claude, Watteau, Goya, Degas and Cezanne-is to be given to the Morgan Library, and this is its first public viewing. Through 1976 it will be seen, after the Morgan showing, at the Cleveland Museum of Art, the Art Institute of Chicago, and the National Gallery of Canada...
Rembrandts in the collection), beginning to array his whole cast of characters by the river bank, setting them down in the hooked squiggles and blots of a reed pen - pure calligraphy, astounding in its vigor. Here is Watteau, constructing with red and black chalk an exact equivalent of the shimmer of light over flesh, muslin and stiff satin that so gripped him in painting...
...different pose. Hence the picture's odd disunity: it is a composite, not a "scene." Besides, there are historical quotes: so intent was Monet on this modern fete champetre that he turned the Camille in the beige dress with vertical buttons into a parody, conscious or not, of Watteau's clown Gilles...
...hard to see how so much territory could be better indicated on a small exhibition budget. Apart from the (necessarily small) paintings by Rubens himself, there are works by Jouvenet, De La Fosse, Boucher, Fragonard, Gainsborough, Sir Joshua Reynolds, Gericault and Delacroix, and as fine a group of Watteau crayon drawings as one could hope to see in any room...
...paradise, which he changed into a thoroughly erotic Eden: the island of Cythera, sacred to Aphrodite. It was from this delectable abode of profane love that the 18th century painters of the féte champétre drew their inspiration. Rubens' outdoor courts of pagan love became Watteau's exquisite assemblies of lovers and Pierrots, at dusk, beside the Mozartian stone statue. This vision of a society of the elect united by love (which is equally the root of the paradise myth) continued through Watteau's colleagues and imitators, Fragonard, Jean-Baptiste Pater - in The Dance...