Jean-Antoine Watteau was a French painter whose brief career spurred the revival of interest in colour and movement (in the tradition of Correggio and Rubens). He revitalized the waning Baroque style, and indeed moved it to the less severe, more naturalistic, less formally classical Rococo. Watteau is credited with inventing the genre of fêtes galantes: 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. Watteau was born in the town of Valenciennes, which had recently passed from the Spanish Netherlands to France. His father was a master tiler. Showing an early interest in painting, he was apprenticed to Jacques-Albert Gérin, a local painter.
Having little to learn from Gérin, Watteau left for Paris in about 1702. There, he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition; it was in that period that he developed his characteristic sketchlike technique. In 1703 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIV's reign. In Gillot's studio Watteau became acquainted with the characters of the commedia dell'arte (its actors had been expelled from France several years before), a favorite subject of Gillot's that would become one of Watteau's lifelong passions. Afterward he moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, where Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his major influences, together with the Venetian masters he would later study in the collection of his patron and friend, the banker Pierre Crozat.
In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required "reception piece", but it was one of his masterpieces: the Pilgrimage to Cythera, also called the Embarkation for Cythera. Interestingly, while Watteau's paintings seem to epitomize the aristocratic elegance of the Régence (though he actually lived most of his short life under the oppressive climate of Louis XIV's later reign), he never had aristocratic patrons. His buyers were bourgeois such as bankers and dealers.
Although his mature paintings seem to be so many depictions of frivolous fêtes galantes, they in fact display a sober melancholy, a sense of the ultimate futility of life, that makes him, among 18th-century painters, one of the closest to modern sensibilities.
Having been sickly and physically fragile since childhood, he travelled to London in 1721 to consult Dr. Richard Mead, one of the most fashionable physicians of his time and an admirer of Watteau's work. However, London's damp and smoky air offset any benefits of Dr. Mead's wholesome food and medicines. Watteau returned to France and spent his last few months on the estate of his patron, Abbé Haranger, where he died in 1721 perhaps from tuberculous laryngitis at the age of 36. The Abbé said Watteau was semi-conscious and mute during his final days, clutching a paint brush and painting imaginary paintings in the air. Watteau's influence on the arts (not only painting, but the decorative arts, costume, film, poetry, music) was more extensive than that of almost any other 18th-century artist.
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