The Country Dance

 
Artist
Creation date
Materials
oil on canvas
Dimensions
19-1/2 x 23-5/8 in. (canvas) 27-3/4 x 32 x 4-1/4 in. (framed)
Credit line
Gift of Mrs. Herman C. Krannert
Accession number
74.98
Collection
Currently On View In
Charles O. McGaughey Gallery - H213

In this, his earliest known painting, Watteau draws inspiration from scenes of fairs, peasant weddings and country dances by Flemish painters like Peter Paul Rubens and David Teniers.  Compared to their Flemish forebears, however, Watteau's dancing villagers are more civilized and courtly. Rustic music, which frequently accompanies drunkenness and debauchery in Flemish art, here alludes to the natural harmony of social and familial order.

The increasing popularity in 18th-century France of novels and plays with rural themes also reveals a new appreciation for the imagined harmony and simplicity of country life.

Anonymous collection, southern France, Wildenstein Company, New York, New York, Max Safron Galleries, New York, New York, J.K. Lilly Collection, Indianapolis, Indiana, June 6, 1961, Mrs. Herman C. Krannert, Gift to the Indianapolis Museum of Art in 1974 (74.98)
Reproduction of these images, including downloading, is prohibited without written authorization from VAGA.

350 Fifth Avenue, Suite 2820
New York, NY 10118
Tel: 212-736-6666
Fax: 212-736-6767
e-mail: info@vagarights.com
site: http://www.vaga.org/

Indianapolis Museum of Art: Highlights of the Collection (2005)

Under arching tree boughs, villagers play music while a toddler amuses a dancing couple with his imitation of the young maid's graceful movements. Watteau's merry subject recalls the scenes of fairs, peasant weddings, and country dances by Flemish artists like Pieter Bruegel and Peter Paul Rubens, whose raucous and earthy Kermess had been in the French royal collection since 1685. This is perhaps Watteau's earliest known painting, made shortly after he emigrated to Paris from the historically Flemish city of Valenciennes. Compared to their Flemish forebears, however, Watteau's dancing peasants are civilized, even ennobled. Their movements are contained and courtly, and some are smartly dressed. Rustic music, usually accompanying debauchery and drunkenness, here alludes to the natural harmony of social and familial order. The musicians engage the viewer with halting, coy glances suggestive of the mutual awareness between actor and spectator so characteristic of Watteau's art.

Watteau reworked his northern European subject in an emphatically Venetian style. Both the nostalgic interpretation of peasant life, and the soft, atmospheric effect reveal the French artist's debt to Venetian landscapes, with their pastoral love themes, paradisiacal settings, and painterly brushwork. In the context of contemporary academic debates about the merits of drawing versus color, Watteau's Country Dance was a declaration in favor of the power of color to conjure an idyllic world of pure pleasure, adding momentum to the 18th-century style known as Rococo.

[Watteau], a pupil of Gillot, Flemish by birth, succeeds very well in grotesques, landscapes, fashions.
-Collector Carl Gustaf Tessin, 1715