The Shepherds (Watteau)

The Shepherds (French - Les Bergers) is a c.1717 painting by Antoine Watteau, now in the Schloss Charlottenburg in Berlin. It is the most finished version of a composition later reused by the same artist in Pastoral Pleasure (c.1714-1716, musée Condé).

The Shepherds
French: Les Bergers
ArtistAntoine Watteau
Yearc.1717
Mediumoil on canvas
MovementFête champêtre
LocationSchloss Charlottenburg, Berlin

Description and themes

It shows city-dwellers in the countryside pretending to be peasants. In the centre a young man dressed in an elegant doublet and a plumed beret dances what seems to be a minuet with a young woman in a satin dress[1] whilst a musician plays for them. One other couple observes the dancers, another couple whispers to each other and a third plays with a swing. Several details are directly inspired by the work of Peter Paul Rubens - the musician, his neighbour, the shepherd embracing the woman next to him and the dog in the foreground.[2] The affected character of the scene is heightened by the presence of a real shepherd, whose sheep graze in the far right background, almost hidden by bushes. Overall the painting transposes French pastoral poetry of the time into painted form.

It refers to Poussin's Bergers d’Arcadie, but this is misleading since the pastoral paintings by Poussin show a mythological Arcadia peopled by idealised classical shepherds, with no trace of real contemporary shepherds.[3] The shepherds painted by Watteau and written about by Fontenelle are instead 'half-true', as Fontenelle himself later explained:

So whence comes it that sheepfold scenes are pleasing despite the deception of characters which must always hurt them? Do we enjoy that they show us courtiers with a rudeness that makes them look much like real shepherds, that the delicacy and gallantry which they give to shepherds resembles that of courtiers? Definitely not ; but the character of the shepherds is not false, taken in a certain way. We don't look at the baseness of their real cares, but at the little embarrassment that these cares cause. This baseness would exclude all that made for agreeable and gallant scenes ; but instead the tranquility in these works serves well, and forms the sole foundation for all that is agreeable about the pastoral life. It takes away from truth to please the imagination ; but it is not difficult to make [the viewer] content; it often only needs a half-truth.[4]

The style is close to the shepherd-lovers and wrapped-up shepherdesses of abbé Du Bos.[5] The figures' harmony with nature in Watteau's work was a convention in an aristocratic society which emulated a idealised pastoral state in the gardens of Versailles.[6]

References
  1. Cohen, Sarah R. (1994). "Un bal continuel : Watteau's Cythera Paintings and Aristocratic Dancing in the 1710s". Art History. 17 (2): 174.
  2. Chantilly, musée Condé. Peintures du XVIIIe siecle, p.151.
  3. Hauser, Annold (2005). Social History of Art. Volume 3: Rococo, Classicism and Romanticism. London: Routledge. p. 20. ISBN 978-1-13463-745-4.
  4. (in French) Bernard Le Bouyer de Fontenelle, Œuvres de Fontenelle, t.3, 1re part., Paris, Armand Belin, 1818, p.59.
  5. (in French) Alfred Lombard, L’Abbé Du Bos, un initiateur de la pensée moderne (1670-1742), Paris, Hachette, 1913, 614 nb. p, p.298.
  6. (in French) René Huyghe, L’Univers de Watteau, Paris, Scrépel, 1982, 117

Further reading
  • Adhémar, Hélène (1950). Watteau; sa vie, son oeuvre (in French). Includes "L’univers de Watteau", an introduction by René Huyghe. Paris: P. Tisné. cat. no. 144. OCLC 853537.CS1 maint: ref=harv (link)
  • Baticle, Jeannine (1985). "Le chanoine Haranger, ami de Watteau". Revue de l'Art (in French) (69): 55–61. doi:10.3406/rvart.1985.347524 – via Persee.fr.
  • Cailleux, Jean (April 1975). "A Strange Monument and Other Watteau Studies". The Burlington Magazine. 117 (865): 246–249. JSTOR 877986.CS1 maint: ref=harv (link)
  • Camesasca, Ettore (1971). The Complete Painting of Watteau. Classics of the World's Great Art. Introduction by John Sutherland. New York: Harry N. Abrams. p. 118. ISBN 0810955253. OCLC 143069 – via the Internet Archive. Cat. no. 176.
  • Ferré, Jean, ed. (1972). Watteau (in French). 1. Madrid: Éditions Athena. cat. no. B37. OCLC 906101135.
  • Glorieux, Guillaume (2011). Watteau. Collection Les Phares (in French). Paris: Citadelles & Mazenod. pp. 165, 169. ISBN 9782850883408. OCLC 711039378.
  • Mathey, Jacques (1959). Antoine Watteau. Peintures réapparues inconnues ou négligées par les historiens (in French). Paris: F. de Nobele. p. 68. OCLC 954214682.
  • Posner, Donald (March 1982). "The Swinging Women of Watteau and Fragonard". The Art Bulletin. 64 (1): 75–88. JSTOR 3050195.CS1 maint: ref=harv (link)
  • Posner, Donald (1984). Antoine Watteau. London: Weidenfeld & Nicolson. pp. 25–26, 166–169. ISBN 0-8014-1571-3. OCLC 10736607 – via the Internet Archive.CS1 maint: ref=harv (link)
  • Réau, Louis (1928–1930). "Watteau". In Dimier, Louis (ed.). Les peintres français du XVIII-e siècle: Histoire des vies et catalogue des œuvres (in French). 1. Paris: G. Van Oest. p. 36, cat. no. 77. OCLC 564527521.
  • Roland Michel, Marianne. Watteau: Tutti I Dipinti. I Maestri (in Italian). 19. Translated from the French by Marina Anzil Robertini. Milano: Rizzoli. cat. no. 215. OCLC 48636176. OCLC 801077589. Published in French as Tout Watteau. La Peinture. Paris: Flammarion. 1982. ISBN 2-08-012226-6. OCLC 490060827.
  • Roland Michel, Marianne (1984). Watteau (in French). Paris: Flammarion. pp. 87, 210, 229, 269–70, 301. ISBN 9782080120205. OCLC 417153549.
  • Temperini, Renaud (2002). Watteau. Maîtres de l'art (in French). Paris: Gallimard. p. 98, cat. no. 88. ISBN 9782070116867. OCLC 300225840.CS1 maint: ref=harv (link)
  • Vogtherr, Christoph Martin (2011). Französische Gemälde I: Watteau • Pater • Lancret • Lajoüe (collection catalogue). Berlin: Akademie Verlag. cat. no. 4. ISBN 305004652X. OCLC 505749744.
  • Eidelberg, Martin (July 2016). "Les Bergers". A Watteau Abecedario. Archived from the original on September 7, 2020. Retrieved October 17, 2020.
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