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This medalhas been cast to commemorate the French painter of the Baroque, Jean-AntoineWATTEAU, 1684 – 1721 and its relation to the priorities of the contemporarytimes; the economy and art.
The medalhas been designed by the French medalist, Albert DECARIS.
The medaillehas the number of 391 of 1000 minted pices.
Jean-AntoineWatteau;October 10, 1684 – July 18, 1721) was a French painter whose brief career spurredthe revival of interest in colour and movement (in the tradition of Correggio and Rubens), and revitalized the waningBaroque idiom, which eventuallybecame known as Rococo. He is credited withinventing the genre of fêtesgalantes:scenes of bucolic and idyllic charm, suffused with an air of theatricality.Some of his best known subjects were drawn from the world of Italian comedy and ballet.
av. Theportrait of lady in the Baroque costume
rv. The symbolsof the contemporary times
diameter– 113 mm (4½“)
weight– 468.30 gr, (16.52 oz)
metal– bronze, gold plated
Critical assessment and legacy
Little known duringhis lifetime beyond a small circle of his devotees, Watteau "was mentionedbut seldom in contemporary art criticism and then usually reprovingly".Sir MichaelLeveyonce noted that Watteau "created, unwittingly, the concept of theindividualistic artist loyal to himself, and himself alone". If hisimmediate followers (Lancret and Pater) would depict the unabashed frillery ofaristocratic romantic pursuits, Watteau in a few masterpieces anticipates anart about art, the world of art as seen through the eyes of an artist. Incontrast to the Rococo whimsicality and licentiousness cultivated by Boucher and Fragonard in the later part of Louis XVs reign, Watteaus theatricalpanache is usually tinged with a note of sympathy, wistfulness, and sadness atthe transience of love and other earthly delights.
Soon after his deatha series of engravings was made after his works, the Receuil Jullienne. Thequality of the reproductions, using a mixture of engraving and etchingfollowing the practice of the Rubens engravers, varied according to the skillof the people employed by Jean de Jullienne, but was often very high. Such acomprehensive record was hitherto unparalleled. This helped disseminate hisinfluence round Europe and into the decorativearts.
Watteaus influenceon the arts (not only painting, but the decorativearts,costume, film, poetry, music) was more extensive than that of almostany other 18th-century artist. According to the 1911Britannica,"in his treatment of the landscape background and of the atmosphericsurroundings of the figures can be found the germs of Impressionism". The Watteaudress,a long, sacklike dress with loose pleats hanging from the shoulder at the back,similar to those worn by many of the women in his paintings, is named afterhim. A revived vogue for Watteau began in England during the BritishRegency,and was later encapsulated by the Goncourtbrothersand the World ofArt.In 1984 Watteau societies were created in Paris,by Jean Ferré , and London, by Dr Selby Whittingham. A majorexhibition in Paris, Washingtonand Berlincommemorated the tercentenary of his birth in 1984. Since 2000 a Watteau centrehas been established at Valenciennesby Professor Chris Rauseo. A catalogue of his drawings has been compiled by PierreRosenberg,replacing the one by Sir Karl Parker, and Alan Wintermute is preparing one ofhis paintings.
