[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/actors-of-the-comedie-francaise-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki40\/actors-of-the-comedie-francaise-wikipedia\/","headline":"Actors of the Com\u00e9die-Fran\u00e7aise – Wikipedia","name":"Actors of the Com\u00e9die-Fran\u00e7aise – Wikipedia","description":"before-content-x4 Painting by Antoine Watteau after-content-x4 Actors of the Com\u00e9die-Fran\u00e7aise,[note 1] also traditionally known as The Coquettes (Les Coquettes; from","datePublished":"2021-08-26","dateModified":"2021-08-26","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/c\/c0\/Anonymous_after_Antoine_Watteau_%E2%80%94_L%27Amour%2C_sous_un_d%C3%A9guisment.jpg\/200px-Anonymous_after_Antoine_Watteau_%E2%80%94_L%27Amour%2C_sous_un_d%C3%A9guisment.jpg","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/c\/c0\/Anonymous_after_Antoine_Watteau_%E2%80%94_L%27Amour%2C_sous_un_d%C3%A9guisment.jpg\/200px-Anonymous_after_Antoine_Watteau_%E2%80%94_L%27Amour%2C_sous_un_d%C3%A9guisment.jpg","height":"140","width":"200"},"url":"https:\/\/wiki.edu.vn\/en\/wiki40\/actors-of-the-comedie-francaise-wikipedia\/","about":["Wiki"],"wordCount":31454,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4Painting by Antoine Watteau       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Actors of the Com\u00e9die-Fran\u00e7aise,[note 1] also traditionally known as The Coquettes (Les Coquettes; from Coquettes qui pour voir), is an oil on panel painting in the Hermitage Museum, Saint Petersburg, by the French Rococo artist Antoine Watteau (1684\u20131721). Variously dated within the 1710s by scholars, the painting forms a compact half-length composition that combines portraiture and genre painting, notably influenced by Venetian school, the Le Nain brothers, and Watteau’s master Claude Gillot; one of the rarest cases in Watteau’s body of work, it shows five figures \u2014 two women, two men, and a black boy \u2014 amid a darkened background, in contrary to landscapes that are usually found in Watteau’s f\u00eates galantes.For three centuries, there were numerous attempts to identify the subject and the characters represented by Watteau; various authors thought the painting to be either a theatrical scene featuring commedia dell’arte masks, or a group portrait of Watteau’s contemporaries. Beginning from the late 20th century, Russian and Western sources accept a theory developed within the Hermitage Museum that holds the painting to be a group portrait of the Com\u00e9die-Fran\u00e7aise players who performed in the playwright Florent Carton Dancourt’s play The Three Cousins. Given a variety of available interpretations, the painting has been known under a number of various titles; its traditional naming is derived from anonymous verses, with which the painting was published as an etching in the 1730s.By the mid-18th century, Actors of the Com\u00e9die-Fran\u00e7aise belonged to Louis Antoine Crozat, Baron de Thiers\u00a0[fr], a nephew of the Parisian merchant and art collector Pierre Crozat; as part of the Crozat collection, the painting was acquired in 1772 for Empress Catherine II of Russia. Since then the painting was among Russian imperial collections in the Hermitage and, later, in the Gatchina Palace, before entering the Hermitage again in the 1920s; as part of the museum’s permanent exhibition, it remains on display in the Winter Palace.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of ContentsDescription[edit]Identity of the subject[edit]Provenance[edit]Authorship[edit]Dating[edit]Related prints[edit]Exhibition history[edit]References[edit]Citations[edit]Bibliography[edit]Further reading[edit]External links[edit]Description[edit]Actors of the Com\u00e9die-Fran\u00e7aise is an oil painting on a pearwood panel that measures approximately 20 by 25\u00a0cm.[4] The painting is a compact half-length composition that shows five figures standing around a high wooden balustrade; most of the figures can be related to extant drawings, either directly or through comparable studies in Watteau’s body of work. It has been noted by scholars that the half-length representation of Watteau’s painting was influenced by Venetian painting;[5] influences from French school such as the Le Nain brothers and Watteau’s master Claude Gillot[7] are also cited.The rightmost figure is an outwardly old man dressed in a skullcap; he stands upon a cane in the left hand, while holding a mushroom hat in the right hand. The figure is generally associated with an early full-length sanguine study (PM 64; RP 75), published as an etching engraved by Jean Audran (FDC 157); the earlier version of the subject was introduced by Watteau in Marriage Contract and Country Dancing (now in the Prado, Madrid) and L’Accordee du Village (now in Sir John Soane’s Museum, London). It has been noted, however, that the study is probably a reduced version of a larger, more vibrant study drawn from life, similar to other studies such as the ones located in the British Museum, London (PM 84; RP 130), and in the Teylers Museum, Haarlem (PM 53; RP 135), respectively. Given the rendering of the hand holding the cane and the quality of the man’s face, it has been suggested that Watteau relied on additional drawings for the painting.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4By the balustrade’s other side, a young girl is shown in a lightly colored, striped dress with ruff, standing behind a black boy servant in green-striped clothes; over the girl’s shoulder, a head of a young man, dressed as Mezzetino, appears in a large motley beret. The girl and the boy’s figures are usually related to a Louvre sheet of eight head studies, with the boy’s head directly adopted into the Hermitage painting; the girl’s figure is also thought to be related to the Louvre drawing, exactly a girl’s head notably used in a version of The Embarkation for Cythera located in the Charlottenburg Palace. Young people of color were a recurrent theme in Watteau’s paintings and drawings, possibly influenced by works of Paolo Veronese; these are also present in Les Charmes de la vie (Wallace Collection, London), La Conversation (Toledo Museum of Art), and Les Plaisirs du Bal (Dulwich Gallery, London). The head of the young man has no directly related drawings, but is notably present, with slight differences, in The Italian Comedians now in the Getty Museum, Los Angeles; the figure has also been associated by Nemilova with a head on a sheet of studies located in a private collection in New York City (PM 746; RP 456) and, to a lesser success, with a figure from a sheet now in the National Gallery of Art, Washington, D.C. (PM 665; RP 475), while Yuri Zolotov\u00a0[ru] thought the head to be related with Il Capitano’s figure present in the Louvre-owned Pierrot.Opposite to the old man, the leftmost figure is a young woman turned to the right in profile, wearing Polish-styled red dress and white chipper, leaning on the balustrade and holding a black mask in the right hand; from the X-ray analysis, it has been found that she was to be bareheaded, wearing a different attire, and had to have her mask placed on the balustrade rather than holding it. Similarly to the old man’s figure, the woman’s figure has been related to an early, small, full-length study (RP 44) of a similarly dressed yet differently posed woman, that has been adopted into a more detailed drawing, later used in The Polish Woman, traditionally but not definitively attributed to Watteau (now in the National Museum, Warsaw). Various studies of women’s hands holding masks have been related to the painting, with a study in the Kupferstichkabinett, Berlin (PM 828; RP 417), regarded as the closest. There is also a now untraced sanguine and black chalk study of the woman and the boy (PM 541; RP R591) that closely corresponds, albeit in reverse, with the painting; Parker and Mathey, who attributed the drawing to Watteau, considered it to be a preliminary study, and so did Nemilova and, during the 1984\u20131985 exhibition, Rosenberg; however, Eidelberg rejected that relation, as well as the sheet’s authenticity, pointing out that the drawing is more corresponding to the etching rather than to the painting; in the 1996 catalogue raisonn\u00e9, Rosenberg and Louis-Antoine Prat also list the sheet as rejected.[citation needed]The painting is generally in good condition, despite losses and restorations underwent in the past.[18] Damages found via visual observations include a restored crack along the old man’s cloak, to the right; there are cracks in shaded areas, more importantly along the lower edge and around the girl’s head; a loss has been painted in above the girl’s left shoulder. X-ray analysis of the painting, performed by Soviet scholars in the 1970s, has also revealed alterations made to the leftmost figure during the painting’s production: the woman was to be bare-headed rather than wearing the bonnet, and was to wear a free-flowing costume with horizontal stripes, different from a Polish-styled one found in the final painting; her hand didn’t hold the mask, but lay on the banister.[20]Identity of the subject[edit]Until the middle of the 20th century, sources and studies on Watteau variously defined the work’s subject. In notes to Pellegrino Antonio Orlandi’s Abecedario pittorico, Pierre-Jean Mariette referred to the work as Coquettes qui pour voir galans au rendez vous (transl.\u2009”Coquettish women, who to meet gallant men go around…”), after the first verses of quatrains accompanying Thomassin’s engraving for the Recueil Jullienne; Mariette thought the panel depicts “people in disguise for a ball, among whom is one dressed as an old man.”Fran\u00e7ois-Bernard L\u00e9pici\u00e9 refers to the composition as Retour de Bal in a 1741 obituary of Henri Simon Thomassin\u00a0[fr], believing the figures to be returning from a ball;[22]:\u200a569\u200a in contrary, Catalogue Crozat of 1755 and Dezallier d’Argenville fils described it as a depiction of masked figures preparing for a ball.[24][25]Later sources, more prominently in France and Russia, similarly had various definitions on the subject: Johann Ernst von Munnich\u00a0[ru] refers to the work as Personnages en masques (transl.\u2009”Characters in Masks”) in the manuscript catalogue of the Hermitage collection;[26] the Hermitage’s 1797 catalogue features the title The Mascarade,[27] whereas the 1859 inventory registry features only the work’s description\u2014”two women, talking with two men, and a negro beside them”.[28] In his writings, Pierre H\u00e9douin\u00a0[fr] referred to the work as Le Rendez-vous du bal masqu\u00e9,[30] before Edmond de Goncourt’s Catalogue raisonn\u00e9… introduced the Mariette-mentioned title into common use.In an 1896 article published in Gazette des Beaux-Arts, the French author Gaston Sch\u00e9fer was the first to consider The Coquettes to be based on portrait drawings rather than being a theatrical scene. Sch\u00e9fer suggested from an inscription under Boucher’s etching after the Berlin drawing, found in a copy of Figures des differents caracteres held by the Biblioth\u00e8que de l’Arsenal, that the old man on the right of the painting was modelled after Pierre-Maurice Haranger, a canon of the Saint-Germain l’Auxerrois who was a close friend of Watteau; the lady in red was thought by Sch\u00e9fer to be the Com\u00e9die-Fran\u00e7aise actress Charlotte Desmares,[note 2] based on comparison of the composition with Lepici\u00e9’s etching of her portrait by Charles-Antoine Coypel.[a] Later in the early 1900s, playwright Virgile Josz presumed the painting to be a depiction of commedia dell’arte masks, with the old man as Pantalone, the women as Rosaura and Isabella, and the young man as Scapino; in later years, these points were adopted by a number of scholars[note 3] Josz’s contemporary Louis de Fourcaud considered figures to be a family group dressed for an elegant masquerade.”In a 1950 monograph on Watteau, H\u00e9l\u00e8ne Adh\u00e9mar identified the lady in red as Charlotte Desmares, similarly to Sch\u00e9fer; Adh\u00e9mar’s point was furthered in Karl Parker and Jacques Mathey’s 1957\u20131958 catalogue of Watteau drawings; they concluded that the old man could be another Com\u00e9die-Fran\u00e7aise player, Pierre Le Noir.[note 4] In the Soviet Union, the Hermitage staff member Inna Nemilova supported these points, and also concluded the young man to be Philippe Poisson. In addition, Nemilova pointed out Desmares could be possibly depicted by Watteau in both versions of The Embarkation for Cythera, and also other canvas[note 5] and various drawings.Provenance[edit]In an article on the Hermitage’s 1922\u20131925 exhibition of French paintings, published in the March 1928 issue of Gazette des Beaux-Arts, the Russian scholar Sergei Ersnt\u00a0[ru] reported that according to an inscription found on the panel’s verso, The Coquettes belonged to the painter Nicolas Bailly\u00a0[fr][note 6] (1659\u20131736), a curator of the royal collections who authored a 1709\u20131710 inventory of the paintings in possession of King Louis XIV; in 1984, Rosenberg said that he wasn’t surprised about Ernst’s report, given Bailly’s relations within artistic circles.[note 7] The label has been deciphered as “N Bailly [prove]nant  de lonay aux gallery;” it has been noted that de Lonay was an expert mentioned by the Parisian merchant and art collector Pierre Crozat \u2014 once a patron of Watteau \u2014 in his last will and testament; in the early 1900s, Virgile Josz speculated that Crozat could once own the painting.[52]By the mid-18th century, The Coquettes came into possession of Louis Antoine Crozat, Baron de Thiers\u00a0[fr], Pierre Crozat’s nephew; it was present in the 1755 catalogue of Crozat de Thiers’ collection,[24] and later in the 1771 inventory compiled by Fran\u00e7ois Tronchin\u00a0[fr] upon the collector’s death. As part of the Crozat collection, The Coquettes was acquired for the Hermitage, then recently established by Empress Catherine the Great in Saint Petersburg. At some point in the mid-19th century, the painting was taken to the Gatchina Palace; it was present in the Oval Chamber, a personal room of Tsar Paul I in the palace’s ground floor, where it was photographed in the early 1910s.[55] In 1920, The Coquettes was restored to the Hermitage; as part of the museum’s contemporary exhibition, the painting is on display in room 284, formerly the second room of military pictures in the Winter Palace.[57]Authorship[edit]Authenticity of the panel has never been seriously questioned until the early 20th century, when the Russian art historian Nicolas Wrangel\u00a0[ru] considered it to be a copy by Philippe Mercier, a prominent English follower of Watteau; in a letter to the German scholar Ernst Heinrich Zimmermann\u00a0[de], who compiled an album and catalogue of Watteau’s work, Wrangel pointed out that the blond actress lacks the coiffure seen in Thomassin’s print, and there were also differences in the actor at the right. On the Russian fellow’s advice, Zimmermann had classified the painting among the “doubtful pictures”.[59] In the early 1970s, the panel’s authenticity was questioned in the four-volume survey edited by Jean Ferr\u00e9 that, based on Wrangel’s doubts and inconsistency found in contemporary sources, listed The Coquettes as “attributed to Watteau.”[60] Later studies have ruled reservations out, given the work’s condition as well as related drawings and Thomassin’s print; in the 1960s, Nemilova presumed Wrangel have been led to his conclusion because of the painting’s obscurity during its provenance in the Gatchina Palace; much later, Martin Eidelberg adds that Mercier could not paint with the same characteristics and artistic level Watteau had.Dating[edit]Dating of the painting remains somewhat imprecise, varying from early to late years of Watteau’s career.[62] In 1950, Adh\u00e9mar listed The Coquettes as a Spring-Autumn 1716 work. In 1957, Charles Sterling suggested a 1716\u20131717 dating,[65] while in 1959, Jacques Mathey proposed a relatively early date of 1714. Regarding aforementioned datings as too late, Nemilova dated the painting c.\u20091711\u20131712;[note 8] the Soviet scholar based her dating on comparing the painting with Du bel \u00e2ge…,[note 9] a lost painting by Watteau that is similarly a half-length composition, having compositional rhythm and visual features similar to these found on the Hermitage painting. In her dating, Nemilova also relied upon several other works attributed to the early 1710s by Adh\u00e9mar and Mathey: La Conversation, The Dreamer, La Polonnoise, and Polish Woman; to Nemilova, who considered Polish-styled costumes to be fashionable in France during the early 1710s, in light of the then recent Battle of Poltava, the sitter’s dress was the most important point for her dating.In later publications, a variety of dating is also given. In a 1968 catalogue raisonn\u00e9, Ettore Camesasca preferred c.\u20091717, a dating also used by Donald Posner and Federico Zeri.[77] In the 1980s, Marianne Roland Michel attributed The Coquettes to c.\u20091712\u20131714, but later in 1984, she dated it c.\u20091714\u20131715, objecting Nemilova’s dating as too early and not taking into account the psychological study of subjects.[78] In the 1984\u20131985 exhibition catalogue, Rosenberg also dates it c.\u20091714\u20131715, and so does Mary Vidal.[80] In 2000, Helmut B\u00f6rsch-Supan chose a later dating to c.\u20091718, and in 2002, Renaud Temperini proposed c.\u20091716\u20131717; in a 2004 thesis, Belova proposes a c.\u20091717\u20131718 dating, based on her analysis.Related prints[edit]In the early 1730s, Actors of the Com\u00e9die-Fran\u00e7aise was published as an etching in reverse by Henri Simon Thomassin\u00a0[fr]. The print was notably mentioned in Fran\u00e7ois-Bernard L\u00e9pici\u00e9’s obituary notice for Thomassin that appeared in the March 1741 issue of Mercure de France, and later by Pierre-Jean Mariette in Notes manuscrites; in subsequent years, it served as a source to a number of pastiches.Thomassin’s etching was anonymously reproduced as a miniature print, captioned L’Amour, sous un d\u00e9guisment…. A Favourite Sultana (also called Preparation for the Masquerade), an oval stipple print depicting the turbaned woman at the right of Thomassin’s engraving, was produced in London in 1785 by Italian-born artist Francesco Bartolozzi, and has the misleading declaration “Watteau pinxt.”[84] Another engraving of the composition, called La Com\u00e9die italienne, was produced by F\u00e9lix-Jean Gauchard after Thomassin’s print, to accompany the entry on Watteau published in Charles Blanc’s series Histoire des peintres des toutes les \u00e9coles. \u00c9cole fran\u00e7ais in 1862-63.[86]Mascarade (also spelled Masquerade), a mezzotint by French-born English printmaker John Simon, was mentioned by Charles Le Blanc[87] and John Chaloner Smith[88][89] in their respective studies, and was presumed to be a repetition of Thomassin’s print by some authors (notably including Dacier and Vuaflart), given similarity in the number of characters.Anonymous artist after Watteau, L’Amour, sous un d\u00e9guisment…, 1730s, etchingFrancesco Bartolozzi after Watteau, Preparation for the Masquerade, 1785, stipple engraving, Hermitage Museum, Saint PetersburgF\u00e9lix Jean Gauchard after Watteau, La Com\u00e9die Italienne, ca. 1862\u20131863, woodcut, British Museum, LondonExhibition history[edit]List of major exhibitions featuring the workYearTitleLocationCat. no.References1908Les anciennes \u00e9coles de peinture dans les palais et collections priv\u00e9es russes, by the Starye gody\u00a0[ru] magazineImperial Society for the Encouragement of the Arts, Saint Petersburg286[36][91]:\u200a250\u200a1922\u20131925Temporary exhibition of new acquisition from French painting of the 17th and 18th centuriesHermitage Museum, Petrograd (later Leningrad)*[38][37]1955An Exhibition of French Art of the 15th-20th CenturiesPushkin Museum, Moscow*[93]1956An Exhibition of French Art of the 12th-20th CenturiesHermitage Museum, Leningrad*[94]1965Chefs-d’oeuvre de la peinture fran\u00e7aise dans les musees de l’Ermitage et de MoscouMus\u00e9e des Beaux-Arts de Bordeaux, Bordeaux43[95]:\u200a611\u200a[96]1965\u20131966Chefs-d’oeuvre de la peinture fran\u00e7aise dans les musees de l’Ermitage et de MoscouLouvre, Paris41[97][98]:\u200a614\u200a[96]1972Watteau and His TimeHermitage Museum, Leningrad5[99][100]1980Les arts du th\u00e9\u00e2tre de Watteau \u00e0 FragonardGalerie des Beaux-Arts, Mus\u00e9e des Beaux-Arts de Bordeaux, Bordeaux671984\u0410\u043d\u0442\u0443\u0430\u043d \u0412\u0430\u0442\u0442\u043e. 300 \u043b\u0435\u0442 \u0441\u043e \u0434\u043d\u044f \u0440\u043e\u0436\u0434\u0435\u043d\u0438\u044fHermitage Museum, Leningrad*[102][103]:\u200a78\u200a1984\u20131985Watteau 1684\u20131721National Gallery of Art, Washington, D.C.; Galeries nationales du Grand Palais, Paris; Charlottenburg Palace, BerlinP. 29General references: Grasselli, Rosenberg & Parmantier 1984, p.\u00a0313, Nemilova 1985b, p.\u00a0445, Eidelberg 2019.“*” denotes an unnumbered entry.^ “L’\u00e9tude n” 198, grav\u00e9e par Boucher, nous repr\u00e9sente le barbon de la Com\u00e9die italienne, pos\u00e9 de trois quarts, assis sur une chaise. Il est coiff\u00e9 d’une perruque \u00e0 cheveux longs. Une autre \u00e9tude (n\u00b0 69), \u00e9galement grav\u00e9e par Boucher, le figure de face, un large chapeau sur la t\u00e8te. Sous l’\u00e9tude n” 198, Mariette a \u00e9crit\u00a0: \u00ab\u00a0Portrait de l’abb\u00e9 Larancher.\u00a0\u00bb C’est ainsi qu’il est nomm\u00e9 \u00e9galement dans le Mercure. Mais il a effac\u00e9 le nom et l’a corrig\u00e9 par \u00ab\u00a0Aranger\u00a0\u00bb, selon l’orthographe de l’Abecedario. Un pr\u00eatre sous un tel habit, voil\u00e0 qui para\u00eet surprenant; mais au XVIIIe si\u00e8cle l’Eglise avait sa bonhomie. Watteau ne croyait pas plus faire \u0153uvre de scandale en d\u00e9guisant l’abb\u00e9 Haranger sous la perruque de G\u00e9ronte que Cochin en dessinant l’abb\u00e9 Pommyer sous l’habit du Paysan de Gandelu. D’ailleurs, l’abb\u00e9 Haranger avait une si bonne physionomie de th\u00e9\u00e2tre que l’on rencontre son portrait sous un autre nom\u00a0: \u00ab\u00a0La Thouril\u00e8re, La Thorilli\u00e8re.\u00a0\u00bb Peut-\u00eatre m\u00eame une autre \u00e9tude de l’abb\u00e9 Haranger a-t-elle servi au vieillard du tableau des Coquettes. Mais ici la ressemblance n’est pas assez directe pour qu’on puisse rien affirmer.Ce tableau des Coquettes n’est probablement fait que de portraits, de ces t\u00eates d’etudes que Watteau crayonnait sur ses cahiers. Quels portraits? nous l’ignorons. Tout au plus hasarderons-nous quelque supposition vraisemblable sur cette jeune femme au nez retrouss\u00e9, aux joues rebondies, que l’on voit \u00e0 droit, coiff\u00e9e d’un grand bonnet oriental et qui rappelle Mlle Desmares, de la Com\u00e9die Fran\u00e7aise. Assur\u00e9ment, ce n’est pas la P\u00e8lerine dont Watteau a trac\u00e9 la fr\u00eate silhouette dans les “Figures de Mode”; cette figurine est si menue que l’on a peine \u00e0 distinguer sa physionomie. Mais le grande portrait de Lepici\u00e9 nous donne assez exactement le visage et les formes abondantes de la com\u00e9dienne pour que notre hypoth\u00e8se soit autoris\u00e9e.”^ Russian: \u00ab\u0410\u043a\u0442\u0451\u0440\u044b \u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u043e\u0433\u043e \u0442\u0435\u0430\u0442\u0440\u0430\u00bb, usually translated into English as Actors of the Com\u00e9die-Fran\u00e7aise.[2] For details on variant titles of the painting, see \u00a7\u00a0Naming.^ Christine Antoinette Charlotte Desmares (1682\u20131753) performed in the Com\u00e9die-Fran\u00e7aise from 1690 to 1721; at some point, she was a mistress of Philippe II, Duke of Orl\u00e9ans. According to Fran\u00e7ois Moureau’s article “Watteau in His Time” published in the Watteau, 1684\u20131721 exhibition catalogue, Desmares “had numerous reasons for meeting Watteau.” Nemilova presumed that Watteau was introduced to Desmares by his friend, Mercure de France editor Antoine de Laroque.^ Virgile Josz’s description of Coquettes… had been notably represented in Russian literature in the early 20th century, adopted by authors such as Alexandre Benois,[36] Valentin Miller,[37] and Sergei Ersnt\u00a0[ru],[38]:\u200a172\u2013173\u200a as well as the Hermitage Museum’s 1958 catalogue of the painting collection;  it was present in Western sources, as well^ Pierre Le Noir, sieur de la Thorilli\u00e8re (September 3, 1659 \u2014 September 18, 1731), also called La Thorilli\u00e8re Jr. or La Thorilli\u00e8re fils, was the son of Fran\u00e7ois Le Noir, dit La Thorilli\u00e8re, a prominent actor associated with Moli\u00e8re’s company. He joined the latter in 1671 as a touring player, and passed into the Com\u00e9die-Fran\u00e7aise following its establishment in 1680; in 1684, Le Noir became a soci\u00e9taire of the Com\u00e9die-Fran\u00e7aise. Early in his career, Le Noir performed secondary tragic and comic characters, before going to a greater success into \u00e0 manteau roles he played following the company-mate Jean-Baptiste Raisin’s death in 1693. In November 1685, Le Noir had married Caterina Biancolelli, the Columbina of the original Com\u00e9die-Italienne and daughter of Domenico Bianconelli, the said troupe’s Harlequin; he was also the brother-in-law to his company-mate, the playwright and actor Dancourt. Le Noir retired in August 1731, shortly before his death a month later; he was succeeded by the son, Anne-Maurice Le Noir.[44][45]^ These include The Island of Cythera (The Embarkation‘s preceding work, now in the St\u00e4del Museum in Frankfurt), The Dreamer (now in the Art Institute of Chicago), The Polish Woman (copy in the National Museum, Warsaw), and the lost La Polonnoise engraved by Michel Aubert\u00a0[fr].^ Zolotov 1973, p.\u00a0138, translated into English as Zolotov 1985, p.\u00a098 and Zolotov 1996, p.\u00a088, refers to the owner as N. Bolz which, according to Eidelberg 2019, may be an error in transcription from French to Russian.^ Grasselli, Rosenberg & Parmantier 1984, pp.\u00a0311\u2013312, states that through his sisters Genevi\u00e8ve and Jeanne, Bailly was a brother-in-law to the etcher Simon Philippe Thomassin\u00a0[fr] and the architect Jean Sylvain Cartaud\u00a0[fr].^ Hermitage Museum 1958, p.\u00a0270, and Nemilova 1964, p.\u00a0182, date The Coquettes c.\u20091712. Nemilova 1970, p.\u00a0156, Hermitage Museum 1976, p.\u00a0189, and subsequent iterations of Nemilova’s research (Zolotov 1973, pp.\u00a0139\u2013140, translated into English as Zolotov 1985, p.\u00a0100 and Zolotov 1996, p.\u00a088; Nemilova 1982, p.\u00a0133, cat. no. 45, reiterated as Nemilova 1985b, p.\u00a0445, cat. no. 348; Nemilova 1985a, p.\u00a0222), maintain a c.\u20091711\u20131712 dating. Claims of Nemilova’s other or changed datings, notably claimed by Camesasca, and later during the Bordeaux exhibition of 1980,[67] are considered to be incorrect.^ Du bel \u00e2ge…, also called Le Concert, is a presumably lost painting that has been published as an etching by Jean Moyreau\u00a0[fr], announced for sale in the June 1728 issue of Mercure de France; in the Recueil Jullienne, Moyreau’s print appears on the same sheet with Beno\u00eet Audran the Younger’s etching after Les entretiens badins…, a Watteau painting that is also presumed lost. According to Goncourt, Du bel \u00e2ge… was likely the painting formerly in Vivant Denon’s collection, featured on the latter’s sale in 1826. According to Dacier and Vuaflart, Du bel \u00e2ge… and Les entretiens badins… appeared on the market at the Caissotti sale in February 1850; however, it was stated by Eidelberg that the Caissotti painting was a different composition from not likely Du bel \u00e2ge…, for it featured six figures of commedia dell’arte masks, whilst Du bel \u00e2ge… has only four.[71] Adh\u00e9mar and Posner dated Du bel \u00e2ge… c. 1712,[72] while Mathey used a dating not earlier than 1704\u20131705. Camesasca, who considered Du bel \u00e2ge… and Les entretiens badins… to be pendants,  used a 1710 dating.; translated as Camesasca 1971, p.\u00a0100 in the 1980s, Roland Michel dated the lost painting c. 1712\u20131714, thinking it to be a pendant to The Coquettes.[75][71]References[edit]Citations[edit]^ Zolotov 1985, p.\u00a098; Deryabina 1989, pp.\u00a0403\u2013404; Eidelberg 2006, p.\u00a0431.^ “\u0412\u0430\u0442\u0442\u043e, \u0410\u043d\u0442\u0443\u0430\u043d. 1684-1721 \u0410\u043a\u0442\u0451\u0440\u044b \u0438\u0442\u0430\u043b\u044c\u044f\u043d\u0441\u043a\u043e\u0439 \u043a\u043e\u043c\u0435\u0434\u0438\u0438 1711-1712 \u0433\u0433”. \u041a\u043e\u043b\u043b\u0435\u043a\u0446\u0438\u0438 \u043e\u043d\u043b\u0430\u0439\u043d (in Russian). State Hermitage Museum. Retrieved November 20, 2020.^ B\u00f6rsch-Supan 2000, p.\u00a047, saying of the composition, states its similarity to these found in Giorgione and Titian’s art. Zeri 2000, pp.\u00a026, 45, also mentions the Venetian influence on the half-length representation of figures which, according to Zeri, was unusual to Watteau, bringing out the portrait aspect of the painting. Belova 2006, pp.\u00a058, 60\u201361 n. 3, defines the composition in what is called “hidden simplicity” of the figures’ smooth, circle-based layout, stating that Venetian painting influenced not only the composition of Watteau’s painting, but also its later reception; in a footnote, Actors of the Com\u00e9die-Fran\u00e7aise is compared to Titian’s painting The Concert, also cited as an example of portrait turned genre painting.^ Barker 1939, pp.\u00a0133\u2013134, names The Coquettes among works that “are all more or less influenced by Gillot, some of whose figures Watteau has introduced unchanged into his pictures.”^ Montagni 1968, p.\u00a0113, translated as Camesasca 1971, p.\u00a0115: “[…] Nor does it reveal Watteau’s swiftness of execution. But this may be a result of too drastic cleaning or restoration;” Zeri 2000, p.\u00a026: “Similar to many other Watteau paintings, this one has undergone repaintings which have altered their quality;” Eidelberg 2019: “Despite losses and restorations, it is in remarkably good condition.”^ Nemilova 1985b, p.\u00a0444; Zolotov 1985, p.\u00a098.^ L\u00e9pici\u00e9, Fran\u00e7ois-Bernard (March 1741). “Lettre sur la mort de M. Thomassin”. Mercure de France (in French). pp.\u00a0568\u2013570 \u2013 via Google Books.^ a b Crozat, Louis Antoine (1755). Catalogue des tableaux du cabinet de M. Crozat Baron de Thi\u00e8res \u00e1 Paris (in French). Paris. p.\u00a065 \u2013 via the Internet Archive.^ Dezallier d’Argenville, Antoine-Nicolas (1757) [1749]. Voyage Pictoresque de Paris (in French). Paris. p.\u00a0140 \u2013 via Google Books. Des personnages en masque se pr\u00e9parant pour le bal, par Watteau. Il y en a une estampe grav\u00e9e par Thomassin.^ Munnich, Johann Ersnt von (1773\u20131783). Catalogue raisonn\u00e9 des tableaux qui trouvent dans les Galeries et Cabinets du Palais Imp\u00e9rial \u00e0 Saint-P\u00e9tersbourg (in French). Vol.\u00a01. p.\u00a0274. Cat. no. 873.^ Labensky, F. I., ed. (1797).  \u041a\u0430\u0442\u0430\u043b\u043e\u0433 \u043a\u0430\u0440\u0442\u0438\u043d\u0430\u043c, \u0445\u0440\u0430\u043d\u044f\u0449\u0438\u043c\u0441\u044f \u0432 \u0418\u043c\u043f\u0435\u0440\u0430\u0442\u043e\u0440\u0441\u043a\u043e\u0439 \u0413\u0430\u043b\u0435\u0440\u0435\u0435 \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0430 [Catalogue of Paintings housed in the Imperial Hermitage Gallery] (in Russian). Vol.\u00a02. p.\u00a055. Cat. no. 2545.^ \u041e\u043f\u0438\u0441\u044c \u043a\u0430\u0440\u0442\u0438\u043d\u0430\u043c \u0438 \u043f\u043b\u0430\u0444\u043e\u043d\u0430\u043c, \u0441\u043e\u0441\u0442\u043e\u044f\u0449\u0438\u043c \u0432 \u0437\u0430\u0432\u0435\u0434\u044b\u0432\u0430\u043d\u0438\u0438 II \u043e\u0442\u0434\u0435\u043b\u0435\u043d\u0438\u044f \u0418\u043c\u043f\u0435\u0440\u0430\u0442\u043e\u0440\u0441\u043a\u043e\u0433\u043e \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0430 [Inventory of paintings and plafonds in the office of the Second Department of the Imperial Hermitage Museum] (in Russian). 1859. Cat. no. 1699^ H\u00e9douin, P. (November 30, 1845). “Watteau: catalogue de son oeuvre”. L’Artiste. pp.\u00a078\u201380 \u2013 via Gallica. See also H\u00e9douin 1856, p.\u00a097, cat. no. 30^ a b Benois 1908, p.\u00a0729; translated into French as Benois 1910, p.\u00a0114: “D’un tout autre genre est un petit tableau de Watteau connu dans la gravure sous le nom \u00abLes Coquettes\u00bb. Le coloris n’en est pas recherch\u00e9, mais les characters d’Isabelle la rus\u00e9e, du stupide Pantalon, de la gaie Rosaure et du fourbe Scapin sont rendus avec amour et une grande finessee.”^ a b Miller 1923, p.\u00a059^ a b Ernst, Serge (March 1928). “L’exposition de peinture fran\u00e7aise des XVIIe et XVIIIe siecles au mus\u00e9e de l’Ermitage, a Petrograd (1922\u20131925)”. Gazette des Beaux-Arts (in French). Vol.\u00a017, no.\u00a0785. pp.\u00a0163\u2013182. Retrieved March 29, 2019 \u2013 via Gallica.^ Mongr\u00e9dien, Georges (1972) [1961]. Dictionnaire biographique des com\u00e9diens fran\u00e7ais du XVIIe si\u00e8cle (in French). Paris: Centre national de la recherche scientifique. pp.\u00a0107\u2013108. OCLC\u00a0654213036 \u2013 via the Internet Archive.^ Grasselli, Rosenberg & Parmantier 1984, p.\u00a0478^ Josz 1903, p.\u00a0328, reiterated as Josz 1904, p.\u00a0146; cited in Benois 1908, p.\u00a0729, translated into French as Benois 1910, p.\u00a0114.^ Marishkina, V. F. (2017). \u0424\u043e\u0442\u043e\u0433\u0440\u0430\u0444 \u0418\u043c\u043f\u0435\u0440\u0430\u0442\u043e\u0440\u0441\u043a\u043e\u0433\u043e \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0430 [Photographer of the Imperial Hermitage] (in Russian). Saint Petersburg: The State Hermitage Publishers. pp.\u00a072\u201373. ISBN\u00a0978-5-93572-732-1. OCLC\u00a01022848562.^ Dobrovolsky, Vladimir (2018) [first published in Russian in 2009]. The Hermitage (guidebook). Foreword by Mikhail Piotrovsky; translated from the Russian by Valery Fateyev. Saint Petersburg: Alfa Colour. p.\u00a074. ISBN\u00a0978-5-9778-0050-1.^ Ettinger, P. D. [in Russian] (1912). “Rossica” (PDF). Apollon (in Russian). No.\u00a07. pp.\u00a061\u201362.^ Ferr\u00e9, Jean, ed. (1972). Watteau. Vol.\u00a01. Madrid: \u00c9ditions Athena. vol. 1 pp. 151\u2013152, vol. 3 p. 966; cat. no. B32. OCLC\u00a0906101135.^ Bordeaux 1980, p.\u00a0110: “La date d’ex\u00e9cution de ce tableau est assez impr\u00e9cise.”^ Nemilova 1982, p.\u00a0133, cat. no. 45, reiterated as Nemilova 1985b, p.\u00a0445, cat. no. 348, records Sterling’s dating as 1713\u20131717.^ Montagni 1968, p.\u00a0113; translated as Camesasca 1971, p.\u00a0115; Bordeaux 1980, p.\u00a0110^ a b Eidelberg, Martin (August 2020). “Du Bel \u00e2ge”. A Watteau Abecedario. Archived from the original on September 7, 2020. Retrieved September 7, 2020.^ Adh\u00e9mar 1950, p.\u00a0210, cat. no. 84, pl. 37; Posner 1984, p.\u00a0290.^ Roland Michel 1980, pp.\u00a042, 44, cat. no. 119.^ Posner 1984, p.\u00a0290; Zeri 2000, pp.\u00a026, 45, 48.^ Roland Michel 1984, p.\u00a0217: “Inna Namilova [sic] datait cette \u0153uvre de 1710\u20131712, ce qui semble tr\u00e8s t\u00f4t si l’on tient compte du traitement des personnages et surtout de l’\u00e9tude psychologique des physionomies, dans lesquelles on a voulu reconna\u00eetre des portraits de Mlle Desmares, de La Thorilli\u00e8re et d’autres com\u00e9diens; nous inclinons \u00e0 en retarder l’ex\u00e9cution jusque vers 1714\u20131715.”^ Vidal 1992, pp.\u00a0146\u2013147.^ Dacier & Vuaflart 1922a, p.\u00a0148; Roland Michel 1986, p.\u00a055.^ Maurouard, Elvire Jean-Jacques (2005). Les beaut\u00e9s noires de Baudelaire. Paris: Karthala. p.\u00a0158. ISBN\u00a02-84586-651-8. OCLC\u00a01078667797 \u2013 via Google Books.^ Le Blanc, Charles (1854\u20131890). Manuel de l’amateur d’estampes (in French). Vol.\u00a03. Paris: E. Bouillon. p.\u00a0521. OCLC\u00a0793563927 \u2013 via the Internet Archive. 190. Mascarade, cinq figures\u00a0: Watteau. In-fol.^ Smith, John Chaloner (1884). British Mezzotinto Portraits. Vol.\u00a03. London: H. Sotheran. p.\u00a01129. OCLC\u00a0679810041 \u2013 via the Internet Archive. 175. Masquerade. Watteau. Group of five figures, T. Q. L., lady in centre, holding out her dress, bust in grove in background to left. Under, Watteau Pinx. I. Simon fecit., 8 verses. In this small \u2014\u2014\u2014 Vertue lost. H. 14\u00a0; Sub. 12 5\u20448\u00a0; W. 9 7\u20448.^ Smith, John Chaloner (1883). British Mezzotinto Portraits. Vol.\u00a04. London: H. Sotheran. p.\u00a01863. OCLC\u00a01041620630 \u2013 via the Internet Archive. 175a. Companion. ID. Group of five figures, T. Q. L., black boy in centre, lady with mask to left. Under, Watteau pinxt. J. Simon fec et ex. (8 verses.) Past the delights \u2014Spouse adorns. Same dimensions as 175.^ Weiner, P. P. de [in Russian] (October 1908 \u2013 March 1909). “Portraits anciens \u00e0 Saint-P\u00e9tersbourg (Exposition de)”. L’Art et les Artistes (in French). 8: 243\u2013256 \u2013 via Gallica. Une autre oeuvre de lui, qui est remarquable, mais qui n’a pas la port\u00e9e de la Sainte Famille, les Coquettes, fut jadis grav\u00e9e par Thomassin et appartient \u00e9galement au palais de Gatchina.^ Pushkin Museum, Moscow (1955). \u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u0444\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 XV-XX \u0432\u0432. \u041a\u0430\u0442\u0430\u043b\u043e\u0433 (exhibition catalogue) (in Russian). Moscow: Iskusstvo. p.\u00a024.^ Hermitage Museum, Leningrad (1956). \u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u0444\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 XII-XX \u0432\u0432. (1956; \u041b\u0435\u043d\u0438\u043d\u0433\u0440\u0430\u0434). \u041a\u0430\u0442\u0430\u043b\u043e\u0433 (in Russian). Moscow: Iskusstvo. p.\u00a012.^ Charensol, Georges (June 15, 1965). “Les mus\u00e9es de Russie a Bordeaux”. Revue des Deux Mondes (in French): 607\u2013613. JSTOR\u00a044590025. De la maturit\u00e9 date Le Retour du Bal, o\u00f9, pense-t-on, Watteau a group\u00e9 autour d’un n\u00e9grillon, quatre acteurs du Th\u00e9\u00e2tre Fran\u00e7ais.^ a b “French Paintings from the Hermitage and Pushkin Museum”. French News: Theatre and Arts. No.\u00a029. Autumn 1965. p.\u00a025 \u2013 via Google Books.^ Lemoyne de Forges, Marie-Th\u00e9r\u00e8se, ed. (1965). Chefs-d’oeuvre de la peinture fran\u00e7aise dans les mus\u00e9es de L\u00e9ningrad et de Moscou (exhibition catalogue). Paris: Minist\u00e8re d’\u00c9tat des affaires culturelles. pp. XV, 108\u2013109; cat. no. 41. OCLC\u00a01138863.^ Charensol, Georges (October 15, 1965). “L’Ermitage au Louvre”. Revue des Deux Mondes (in French): 610\u2013616. JSTOR\u00a044591522. Une \u0153uvre aussi m\u00e9diocre n’avait certainement pas sa place \u00e0 c\u00f4t\u00e9 du Retour du Bal qui fut reproduit en gravure sous le titre Coquettes qui pour voir galants au Rendez-Vous, ce qui correspond assez mal au sujet qui montre deux ravissantes filles \u00e0 mi-corps avec un petit n\u00e8gre, un personnage de com\u00e9die et un p\u00e8re noble son vaste chapeau \u00e0 la main. Watteau a soit peint des acteurs du Th\u00e9\u00e2tre Fran\u00e7ais, soit d\u00e9guis\u00e9 les membres de la famille Bailly \u00e0 qui il destinait le tableau. Acquis en 1755 par Crozat il fut achet\u00e9 \u00e0 la vente de 1772 par la Grande Catherine.^ Hermitage Museum, Leningrad (1972). \u0412\u0430\u0442\u0442\u043e \u0438 \u0435\u0433\u043e \u0432\u0440\u0435\u043c\u044f. Leningrad: Avrora. pp.\u00a012, 21. OCLC\u00a0990348938.^ Cailleux 1972, p.\u00a0734: “[…] His theatre scenes, including the French Comedians (No. 5) are also the theatre of the Court.”^ Deryabina, E. V. (1987). “\u0410\u043d\u0442\u0443\u0430\u043d \u0412\u0430\u0442\u0442\u043e. 300 \u043b\u0435\u0442 \u0441\u043e \u0434\u043d\u044f \u0440\u043e\u0436\u0434\u0435\u043d\u0438\u044f”. \u0421\u043e\u043e\u0431\u0449\u0435\u043d\u0438\u044f \u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0433\u043e \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0430 (in Russian). 52: 75. ISSN\u00a00132-1501.^ “\u0425\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u0430\u044f \u0436\u0438\u0437\u043d\u044c \u0421\u043e\u0432\u0435\u0442\u0441\u043a\u043e\u0433\u043e \u0421\u043e\u044e\u0437\u0430: \u0438\u044e\u043d\u044c, \u0438\u044e\u043b\u044c, \u0430\u0432\u0433\u0443\u0441\u0442”. Iskusstvo (in Russian). November 1984. pp.\u00a076\u201379. ISSN\u00a00130-2523.Bibliography[edit]Adh\u00e9mar, H\u00e9l\u00e8ne (1950). Watteau; sa vie, son oeuvre (in French). Includes “L’univers de Watteau”, an introduction by Ren\u00e9 Huyghe. Paris: P. Tisn\u00e9. pp. 119, 220, cat. no. 154, pl. 84. OCLC\u00a0853537.Baldini, Umberto (1970) [first published in Italian in 1966]. The Hermitage, Leningrad. Great Galleries of the World. Translated from the Italian by James Brockway. New York: Newsweek. p.\u00a0109. OCLC\u00a092662 \u2013 via the Internet Archive.Barker, G. W. (1939). Antoine Watteau. London: Duckworth. pp.\u00a0133\u201334. OCLC\u00a0556817570.Benois, Alexandre (1910). “La Peinture Fran\u00e7aise, Italienne et Anglaise aux xviie et xviiie si\u00e8cles”.  In Weiner, P. P. [in Russian] (ed.). Les Anciennes \u00e9coles de peinture dans les palais et collections priv\u00e9es russes, repr\u00e9sent\u00e9es \u00e0 l’exposition organis\u00e9e \u00e0 St.- P\u00e9tersbourg en 1909 par la revue d’art ancien “Stary\u00e9 gody”. Bruxelles: G. van Oest. pp.\u00a0105\u2013119. OCLC\u00a0697960157 \u2013 via the Internet Archive.Belova, Y. N. (2006). “\u0410\u0442\u0442\u0440\u0438\u0431\u0443\u0446\u0438\u044f \u0438\u0437\u043e\u0431\u0440\u0430\u0436\u0435\u043d\u043d\u044b\u0445 \u043b\u0438\u0446 \u043d\u0430 \u043a\u0430\u0440\u0442\u0438\u043d\u0435 \u0410\u043d\u0442\u0443\u0430\u043d\u0430 \u0412\u0430\u0442\u0442\u043e “\u0410\u043a\u0442\u0451\u0440\u044b \u0444\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u043e\u0433\u043e \u0442\u0435\u0430\u0442\u0440\u0430” [“Attribution of persons portrayed by Antoine Watteau in his “Actors of Theatre French”]”. \u042d\u043a\u0441\u043f\u0435\u0440\u0442\u0438\u0437\u0430 \u0438 \u0430\u0442\u0440\u0438\u0431\u0443\u0446\u0438\u044f \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0439 \u0438\u0437\u043e\u0431\u0440\u0430\u0437\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430: \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u044b X \u043d\u0430\u0443\u0447\u043d\u043e\u0439 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0438\u0438 [Expertise and Attribution of Works of Fine Arts: Materials from the 10th Academic Conference] (in Russian). Moscow: Magnum Ars. pp.\u00a058\u201363.Benois, A. N. (November\u2013December 1908). “\u0416\u0438\u0432\u043e\u043f\u0438\u0441\u044c \u044d\u043f\u043e\u0445\u0438 \u0431\u0430\u0440\u043e\u043a\u043a\u043e \u0438 \u0440\u043e\u043a\u043e\u043a\u043e” [Painting of the Age of Baroque and Rococo]. 1908: \u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u043a\u0430\u0440\u0442\u0438\u043d. \u0421\u0442\u0430\u0440\u044b\u0435 \u0433\u043e\u0434\u044b (in Russian). pp.\u00a0720\u2013734 \u2013 via the Internet Archive.Benois, A. N. (2006). “\u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u00ab\u0421\u0442\u0430\u0440\u044b\u0445 \u0433\u043e\u0434\u043e\u0432\u00bb (14 (27) \u043d\u043e\u044f\u0431\u0440\u044f 1908 \u0433., \u2116 277)”. \u0425\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0435 \u043f\u0438\u0441\u044c\u043c\u0430, 1908\u20131917, \u0433\u0430\u0437\u0435\u0442\u0430 “\u0420\u0435\u0447\u044c”. \u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433. \u0422. 1: 1908\u20131910 (in Russian). Saint Petersburg: Sad Iskusstv. pp.\u00a016\u201321. ISBN\u00a05-94921-018-2.B\u00f6rsch-Supan, Helmut [in German] (2000). Antoine Watteau, 1684-1721. Meister der franz\u00f6sischen Kunst (in German). K\u00f6ln: K\u00f6nemann. pp. 46\u201347, ill. 38. ISBN\u00a03-8290-1630-1. OCLC\u00a0925262301.Cailleux, Jean (October 1972). “‘Watteau and his times’ at the Hermitage”. The Burlington Magazine. 114 (835): 733\u2013734. JSTOR\u00a0877114.Camesasca, Ettore [in Portuguese] (1971). The Complete Paintings of Watteau. Classics of the World’s Great Art. Introduction by John Sunderland. New York: Harry N. Abrams. p. 115, cat. no. 162. ISBN\u00a00810955253. OCLC\u00a0143069 \u2013 via the Internet Archive.Dacier, \u00c9mile; Vuaflart, Albert (1922a). “Jean de Julienne et les graveurs de Watteau au XVIII-e si\u00e8cle. II. Historique”. Jean de Jullienne et les Graveurs de Watteau Au Xviii. Si\u00e8cle (in French). Paris: M. Rousseau. pp. 23, 68\u201369, 91\u201392, 99, 101, 136, 148\u2013149. doi:10.11588\/DIGLIT.41976. OCLC\u00a01039156495.Dacier, \u00c9mile; Vuaflart, Albert (1922b). “Jean de Julienne et les graveurs de Watteau au XVIII-e si\u00e8cle. III. Catalogue”. Jean de Jullienne et les Graveurs de Watteau Au Xviii. Si\u00e8cle (in French). Paris: M. Rousseau. pp. 23, 66, 134; cat. nos. 36, 333. doi:10.11588\/DIGLIT.41977. OCLC\u00a01039156495.Deryabina, Ekaterina (1989). “Antoine Watteau, 1684\u20131721, Actors of the Com\u00e9die-Fran\u00e7aise“.  In The Hermitage, Leningrad (ed.). Western European Painting of the 13th to the 18th Centuries. Introduction by Tatyana Kustodieva. Leningrad: Aurora Art Publishers. pp. 403\u2013404, pl. 249\u2013250. ISBN\u00a05-7300-0066-9 \u2013 via the Internet Archive.Eidelberg, Martin (1985\u20131986). “Review: Watteau, 1684\u20131721”. Master Drawings. 23\u201324 (1): 102\u2013106. JSTOR\u00a01553790.Eidelberg, Martin (Winter 2006). “Philippe Mercier as a Draftsman”. Master Drawings. 44 (4): 411\u2013449. JSTOR\u00a020444473.Eidelberg, Martin (January 2019). “Coquettes qui pour voir”. A Watteau Abecedario. Archived from the original on January 31, 2021. Retrieved August 18, 2020.Fourcaud, Louis de (February 1904a). “Antoine Watteau: scenes et figures th\u00e9atrales”. La Revue de l’art ancien et moderne (in French). 15 (83): 135\u2013150, 193\u2013213 \u2013 via Gallica.Galerie des Beaux-Arts, Bordeaux (1980). Les Arts du th\u00e9\u00e2tre de Watteau \u00e0 Fragonard (exhibition catalogue) (in French). Bordeaux: Galerie des Beaux-Arts. pp. 12, 45, 110\u2013111; cat. no. 67. OCLC\u00a0606308317.Goncourt, Edmond de (1875). Catalogue raisonn\u00e9 de l’oeuvre peint, dessin\u00e9 et grav\u00e9 d’Antoine Watteau. Paris: Rapilly. pp. 74\u201375, cat. no. 78. OCLC\u00a01041772738 \u2013 via the Internet Archive.Grasselli, Margaret Morgan; Rosenberg, Pierre; Parmantier, Nicole;  et\u00a0al. (1984). Watteau, 1684-1721 (PDF) (exhibition catalogue). Washington: National Gallery of Art. ISBN\u00a00-89468-074-9. OCLC\u00a0557740787 \u2013 via the National Gallery of Art archive.H\u00e9douin, Pierre (1856). Mosa\u00efque. Peintres, musiciens, litt\u00e9rateurs, artistes dramatiques \u00e0 partir du 15e si\u00e8cle jusqu’\u00e0 nos jours. Paris: Heugel. p. 97, cat. no. 30. OCLC\u00a01157159285 \u2013 via the Internet Archive.Hermitage Museum, Leningrad (1958). \u041e\u0442\u0434\u0435\u043b \u0437\u0430\u043f\u0430\u0434\u043d\u043e\u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430: \u041a\u0430\u0442\u0430\u043b\u043e\u0433 \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u0438: \u0432 2 \u0442. Vol.\u00a01. Leningrad, Moscow: Iskusstvo. p.\u00a0270. OCLC\u00a050467017.Hermitage Museum, Leningrad (1976). \u0417\u0430\u043f\u0430\u0434\u043d\u043e\u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u0430\u044f \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u044c: \u0432 2 \u0442. Vol.\u00a01. Leningrad: Aurora. p.\u00a0189. OCLC\u00a0995091183.Josz, Virgile (1903). Watteau. Moeurs du XVIIIe si\u00e8cle (in French). Paris: Soci\u00e9t\u00e9 du Mercure de France. OCLC\u00a0900757508 \u2013 via Google Books.Josz, Virgile (1904). Antoine Watteau (in French). Paris: H. Piazza et cie. pp. 117 (reproduction of Thomassin’s print), 146, 222. OCLC\u00a0963518006 \u2013 via the Internet Archive.Mathey, Jacques (1959). Antoine Watteau. Peintures r\u00e9apparues inconnues ou n\u00e9glig\u00e9es par les historiens (in French). Paris: F. de Nobele. p.\u00a068. OCLC\u00a0954214682.Miller, V. F. (1923). “\u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0430\u044f \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u044c XVII-\u0433\u043e \u0438 XVIII-\u0433\u043e \u0432.\u0432. \u0432 \u043d\u043e\u0432\u044b\u0445 \u0437\u0430\u043b\u0430\u0445 \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0430”. \u0413\u043e\u0440\u043e\u0434 (in Russian). No.\u00a01. pp.\u00a052\u201378. OCLC\u00a032361994.Montagni, E. C. (1968). L’opera completa di Watteau. Classici dell’arte (in Italian). Vol.\u00a021. Introduction by Giovanni Macchia. Milano: Rizzoli. p. 113; cat. no. 162; colorpl. XXIV. OCLC\u00a01006284992. For the English edition, see Camesasca 1971.Nemilova, I. S. (1964). \u0412\u0430\u0442\u0442\u043e \u0438 \u0435\u0433\u043e \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u044f \u0432 \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0435 (Watteau et son \u0153uvre \u00e0 l’Ermitage) [Watteau and His Works in the Hermitage] (in Russian). Leningrad: Sovetskiy hudozhnik. OCLC\u00a067871342.Nemilova, I. S. (1970). “\u041a\u0430\u0440\u0442\u0438\u043d\u0430 \u0412\u0430\u0442\u0442\u043e \u00ab\u0410\u043a\u0442\u0451\u0440\u044b \u0444\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u043e\u0439 \u043a\u043e\u043c\u0435\u0434\u0438\u0438\u00bb \u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430 \u043f\u043e\u0440\u0442\u0440\u0435\u0442\u0430 \u0432 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0435 \u0445\u0443\u0434\u043e\u0436\u043d\u0438\u043a\u0430 [Watteau’s painting Actors of the Com\u00e9die-Fran\u00e7aise and the matter of portrait in the artist’s work]”.  In Izergina, A. N.; Nikulin, N. N. (eds.). \u0417\u0430\u043f\u0430\u0434\u043d\u043e\u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e [Western European Art] (in Russian). Leningrad: Aurora. pp.\u00a0145\u2013157. OCLC\u00a0837241769.Nemilova, Inna (June 1975). “Contemporary French Art in Eighteenth-Century Russia”. Apollo. 101 (160): 428\u2013442.Nemilova, I. S. (1982). \u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0430\u044f \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u044c XVIII \u0432\u0435\u043a\u0430 \u0432 \u042d\u0440\u043c\u0438\u0442\u0430\u0436\u0435 (La peinture fran\u00e7aise du XVIIIe si\u00e8cle, Mus\u00e9e de L’Ermitage: catalogue raisonn\u00e9) [French Painting of the 18th centrty in the Hermitage Museum: Scientific Catalogue]. Leningrad: Iskusstvo. pp. 130\u2013134, cat. no. 45. OCLC\u00a063466759.Nemilova, I. S. (1985a). \u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0430\u044f \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u044c XVIII \u0432\u0435\u043a\u0430 [French Painting of the 18th Century]. \u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u042d\u0440\u043c\u0438\u0442\u0430\u0436. \u0421\u043e\u0431\u0440\u0430\u043d\u0438\u0435 \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u0438 (in Russian). Moscow: Izobrazitel’noe iskusstvo. pp. 242\u2013243, ill. 35. OCLC\u00a0878889718.Nemilova, I. S. (1985b). \u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0430\u044f \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u044c. XVIII \u0432\u0435\u043a [French Painting: the 18th Century]. \u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u042d\u0440\u043c\u0438\u0442\u0430\u0436. \u0421\u043e\u0431\u0440\u0430\u043d\u0438\u0435 \u0437\u0430\u043f\u0430\u0434\u043d\u043e\u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u043e\u0439 \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u0438: \u043d\u0430\u0443\u0447\u043d\u044b\u0439 \u043a\u0430\u0442\u0430\u043b\u043e\u0433 \u0432 16 \u0442\u043e\u043c\u0430\u0445. Vol.\u00a010. Edited by A. S. Kantor-Gukovskaya. Leningrad: Iskusstvo. pp. 444\u2013445, cat. no. 348. OCLC\u00a022896528.Nemilova, I. S. (1989) [first published in 1973]. \u0417\u0430\u0433\u0430\u0434\u043a\u0438 \u0441\u0442\u0430\u0440\u044b\u0445 \u043a\u0430\u0440\u0442\u0438\u043d [Enigmas of Old Masters] (in Russian) (3rd\u00a0ed.). Moscow: Izobrazitel’noe iskusstvo. ISBN\u00a05-85200-017-5. OCLC\u00a0909190011.Opperman, Hal (June 1988). “Watteau 1684-1721 by Margaret Morgan Grasselli, Pierre Rosenberg and Nicole Parmentier”. The Art Bulletin. 70 (2): 354\u2013359. JSTOR\u00a03051127.Parker, Karl T. & Mathey, Jacques (1957\u20131958). Antoine Watteau: catalogue complet de son oeuvre dessin\u00e9. Paris: F. de Nob\u00e8le. OCLC\u00a02039948.Posner, Donald (1984). Antoine Watteau. London: Weidenfeld & Nicolson. p. 290. ISBN\u00a00-8014-1571-3. OCLC\u00a010736607 \u2013 via the Internet Archive.Roland Michel, Marianne (1980). Antoine Watteau: das Gesamtwerk (in German). Translated from the French by Rudolf Kimmig. Frankfurt: Ullstein. pp. 14\u201315, 42, cat. no. 118. ISBN\u00a03-548-36019-X. OCLC\u00a069202887 \u2013 via the Internet Archive.Roland Michel, Marianne (1984). Watteau: un artiste au XVIII-e si\u00e8cle. Paris: Flammarion. pp. 216\u2013217, 305; ill. 215. ISBN\u00a00862940494. OCLC\u00a0417153549.Roland Michel, Marianne (1986). “Watteau and England”.  In Hind, Charles (ed.). The Rococo in England. London: Victoria and Albert Museum. pp.\u00a046\u201359. ISBN\u00a00-948107-37-5. OCLC\u00a018588917.Rosenberg, Pierre; Prat, Louis-Antoine (1996). Antoine Watteau: catalogue raisonn\u00e9 des dessins (in French). Paris: Gallimard-Electa. ISBN\u00a02070150437. OCLC\u00a0463981169.Sch\u00e9fer, Gaston (September 1896). “Les Portraits dans l’oeuvre de Watteau”. Gazette des Beaux-Arts (in French) (471): 177\u2013189 \u2013 via Gallica.Shvartsman, N. A. (2013). \u0413\u0440\u0451\u0437\u044b \u0438 \u043c\u0438\u0440\u0430\u0436\u0438 \u0432 \u0441\u0430\u0434\u0430\u0445 \u0412\u0435\u0440\u0441\u0430\u043b\u044f [Dreams and Mirages in the Gardens of Versailles] (in Russian). Moscow: Belyi gorod. ISBN\u00a0978-5-7793-4400-5.Sterling, Charles (1957). Mus\u00e9e de l’Ermitage: la peinture fran\u00e7aise de Poussin \u00e0 nos jours (in French). Paris: Cercle d’Art. p. 41, pl. 29. OCLC\u00a0411034675. Published in English as \u2014\u2014 (1958). Great French Painting in the Hermitage. Translated by Christopher Ligota. New York: Harry N. Abrams. p. 41, pl. 29. OCLC\u00a0598217.Stuffmann, Margret (July\u2013September 1968). “Les tableaux de la collection de Pierre Crozat: historique et destin\u00e9e d’un ensemble c\u00e9l\u00e8bre \u00e9tablis en partant d’un inventaire apr\u00e8s d\u00e9c\u00e8s in\u00e9dit 30 mai 1740”. Gazette des Beaux-Arts (in French). 72: 11\u2013144. OCLC\u00a0888303109.Temperini, Renaud (2002). Watteau. Ma\u00eetres de l’art (in French). Paris: Gallimard. pp. 79, 145; cat. no. 77. ISBN\u00a09782070116867. OCLC\u00a0300225840.Vidal, Mary (1992). Watteau’s Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France. New Haven, London: Yale University Press. pp. 146\u2013147, fig. 142. ISBN\u00a00-300-05480-7. OCLC\u00a0260176725.Zeri, Federico (2000) [first published in Italian in 1998]. Watteau: The Embarkment for Cythera. One Hundred Paintings. Richmond Hill, Ontario: NDE Pub. pp.\u00a026, 45, 48. ISBN\u00a01553210182. OCLC\u00a048003550 \u2013 via the Internet Archive.Zimmermann, E. Heinrich [in German] (1912). Watteau: des Meisters Werke in 182 Abbildungen. Klassiker der Kunst (in German). Vol.\u00a021. Stuttgart, Leipzig: Deutsche Verlags-Anstalt. Reproduced at p. 122, notes at pp. 190\u2013191. OCLC\u00a0561124140 \u2013 via the Internet Archive.Zolotov, Y. K. [in Russian] (1968). \u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0438\u0439 \u043f\u043e\u0440\u0442\u0440\u0435\u0442 XVIII \u0432\u0435\u043a\u0430 [French Portrait in the Eighteenth Century]. Moscow: Iskusstvo. pp. 28, 30. OCLC\u00a0567935709.Zolotov, Y. K., ed. (1973). \u0410\u043d\u0442\u0443\u0430\u043d \u0412\u0430\u0442\u0442\u043e [Antoine Watteau] (album and catalogue) (in Russian). Leningrad: Aurora. pp. 138\u2013140, cat. no. 6. OCLC\u00a046947007.Zolotov, Yuri (November 1984). “\u0412\u0430\u0442\u0442\u043e: \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u0430\u044f \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u044f \u0438 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u0430\u044f \u0438\u043d\u0434\u0438\u0432\u0438\u0434\u0443\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u044c”. Iskusstvo (in Russian). pp.\u00a058\u201366. ISSN\u00a00130-2523.Zolotov, Yuri, ed. (1985). Antoine Watteau: Paintings and Drawings from Soviet Museums. Translated from the Russian by Vladimir Pozner. Leningrad: Aurora Publishers. pp. 8, 11, 98\u2013100, ill. 8\u201311. OCLC\u00a0249485317.Zolotov, Yuri, ed. (1996). Antoine Watteau: The Master of “Les F\u00eates Galantes”. Great Painters. English translation by Josephine Bacon. Bournemouth, St. Petersburg: Parkstone Press, Aurora Art Publishers. pp. 86\u201395, cat. no. 3. ISBN\u00a0185995183X. OCLC\u00a037478254.Further reading[edit]Bindman, David; Boucher, Bruce; Weston, Helen (2011). “Between Court and City: Fantasies in Transition”.  In Bindman, David; Gates Jr., Henry Louis (eds.). The Image of the Black in Western Art. Volume III: From the “Age of Discovery” to the Age of Abolition. Part 3: The Eighteenth Century. Cambridge, Mass.: Belknap Press. pp.\u00a092, 94, 96. ISBN\u00a0978-0-674-05263-5. OCLC\u00a01052808812 \u2013 via the Internet Archive.Boerlin-Brodbeck, Yvonne (1973). Antoine Watteau und das Theater (Ph.D. dissertation) (in German). Basel: Universit\u00e4t Basel. pp.\u00a0155\u2013156. OCLC\u00a01965328.Chegodaev, A. D. [in Russian] (1963). \u0410\u043d\u0442\u0443\u0430\u043d \u0412\u0430\u0442\u0442\u043e [Antoine Watteau]. Moscow: Iskusstvo. p. 17, ill. 13. OCLC\u00a040315312.Danielewicz, Iwona (2019). French Paintings from the 16th to 20th Century in the Collection of the National Museum in Warsaw. Complete Illustrated Catalogue Raisonn\u00e9. Translated by Karolina Koriat, graphic design by Janusz G\u00f3rski. Warsaw: The National Museum in Warsaw. ISBN\u00a0978-83-7100-437-7. OCLC\u00a01110653003.Dargenty, G. (1891). Antoine Watteau. Les Artistes C\u00e9l\u00e8bres (in French). Paris: Librarie de l’Art. p.\u00a089. OCLC\u00a01039952242 \u2013 via the Internet Archive.Debrunner, Hans Werner (1979). Presence and Prestige, Africans in Europe: A History of Africans in Europe Before 1918. Basel: Basler Afrika Bibliographien. p. 93. OCLC\u00a0827630594 \u2013 via Google Books.Descargues, Pierre (1961). The Hermitage Museum, Leningrad. New York: Harry N. Abrams. pp.\u00a036, 166\u2013167. OCLC\u00a0829900432.Fourcaud, Louis de (November 1901). “Antoine Watteau. VI. \u2014 L’invention sentimentale, l’effort technique et les pratiques de composition et d’ex\u00e9cution de Watteau (Suite)”. La Revue de l’art ancien et moderne. 10 (56): 337\u2013349 \u2013 via the Internet Archive.Fourcaud, Louis de (November 1904). “Antoine Watteau: scenes et figures galantes”. La Revue de l’art ancien et moderne (in French). 16 (92): 341\u2013356 \u2013 via the Internet Archive.Gauthier, Maximilien (1959). Watteau. Les Grands Peintres. Paris: Larousse. Pl. 29. OCLC\u00a01151682363 \u2013 via the Internet Archive.Georgi, J. G. (1794). \u041e\u043f\u0438\u0441\u0430\u043d\u0438\u0435 \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e-\u0438\u043c\u043f\u0435\u0440\u0430\u0442\u043e\u0440\u0441\u043a\u0430\u0433\u043e \u0441\u0442\u043e\u043b\u0438\u0447\u043d\u0430\u0433\u043e \u0433\u043e\u0440\u043e\u0434\u0430 \u0421\u0430\u043d\u043a\u0442\u043f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0430 \u0438 \u0434\u043e\u0441\u0442\u043e\u043f\u0430\u043c\u044f\u0442\u043d\u043e\u0441\u0442\u0435\u0439 \u0432 \u043e\u043a\u0440\u0435\u0441\u0442\u043d\u043e\u0441\u0442\u044f\u0445 \u043e\u043d\u0430\u0433\u043e [The Description of the Russian Empire Capital City of Saint Petersburg and sights of interest in its vicinity] (in Russian). Vol.\u00a02. Saint Petersburg. p.\u00a0478 \u2013 via the Russian State Library archive.German, M. Y. (1980). Antoine Watteau. Masters of World Painting. New York: Harry N. Abrams. ISBN\u00a00-8109-2221-5. OCLC\u00a06998113 \u2013 via the Internet Archive.German, M. Y. (2010) [first published in 1980]. \u0410\u043d\u0442\u0443\u0430\u043d \u0412\u0430\u0442\u0442\u043e [Antoine Watteau] (in Russian). Moscow: Iskusstvo\u2014XXI vek. ISBN\u00a0978-5-98051-067-1. OCLC\u00a0641954308.Glorieux, Guillaume (2002). \u00c0 l’enseigne de Gersaint: Edme-Fran\u00e7ois Gersaint, marchand d’art sur le pont Notre-Dame (1694-1750). Seysell: Editions Champ Vallon. pp.\u00a0227\u2013228. ISBN\u00a02-87673-344-7. OCLC\u00a0401692541 \u2013 via Google Books.Glorieux, Guillaume (2011). Watteau. Collection Les Phares (in French). Paris: Citadelles & Mazenod. pp. 168, 170\u2013171; ill. 117. ISBN\u00a09782850883408. OCLC\u00a0711039378.Goncourt, Edmond de; Goncourt, Jules de (1880) [1860]. L’art du dix-huiti\u00e8me si\u00e8cle. 1er fasc.: Watteau (3rd\u00a0ed.). Paris: A. Quantin. p.\u00a056. OCLC\u00a01157138267 \u2013 via the Internet Archive.Grigorieva, M., ed. (1980). Hermitage, Leningrad. Great Museums of the World. Introduction by Vitaly Suslov; texts by T. Arapova and others; translated into English by Daryl Hyslop and Miriam Atlas. New York: Newsweek. pp.\u00a011, 105\u2013106. OCLC\u00a01035610777 \u2013 via the Internet Archive.M. H\u00e9bert (1766). Dictionnaire pittoresque et historique… (in French). Vol.\u00a01. Paris: C. H\u00e9rissant. p.\u00a0103. OCLC\u00a0921720076 \u2013 via Gallica.Huys, Jean-Philippe (2011). “Princes en exil, organisateurs de spectacles: Sur le s\u00e9jour en France des \u00e9lecteurs Maximilien II Emmanuel de Bavi\u00e8re et Joseph-Cl\u00e9ment de Cologne”.  In Duforcet, Marie-Bernadette; Mazouer, Charles; Surgers, Anne (eds.). Spectacles et pouvoirs dans l’Europe de l’Ancien R\u00e9gime, XVIe – XVIIIe si\u00e8cle (conference papers) (in French). T\u00fcbingen: Narr. pp.\u00a0127\u2013157. ISBN\u00a0978-3-8233-6645-4. OCLC\u00a0760246397.Jaques, Susan (2016). The Empress of Art: Catherine the Great and the Transformation of Russia. New York: Pegasus Books. p.\u00a0119. ISBN\u00a0978-1-60598-972-3. OCLC\u00a0945969675 \u2013 via the Internet Archive.Kajda\u0144ska, Alexandra (2019). “Eighteenth-century dance costume and etiquette in Gottfried Taubert’s Rechtschaffener Tantzmeister”. Tauberts “Rechtschaffener Tantzmeister” (Leipzig 1717): Kontexte \u2013 Lekt\u00fcren \u2013 Praktiken. Berlin: Frank & Timme. pp.\u00a0101\u2013126. ISBN\u00a0978-3-7329-0428-0 \u2013 via Google Books.Mantz, Paul (1892). Antoine Watteau. Paris: Librairie illustr\u00e9e. pp.\u00a0181\u2013182. OCLC\u00a0742536514 \u2013 via the Internet Archive.Mirzoeff, Nicholas (Summer 1994). “‘Seducing Our Eyes’: Gender, Jurisprudence, and Visuality in Watteau”. The Eighteenth Century. Philadelphia, PA: University of Pennsylvania Press. 35 (2): 135\u2013154. JSTOR\u00a041467582.Mollett, John William (1883). Watteau. Illustrated Biographies of the Great Artists. London: S. Low, Marston, Searle & Rivington. p.\u00a063. OCLC\u00a0557720162 \u2013 via the Internet Archive.Moureau, Fran\u00e7ois (1992). De Gherardi \u00e0 Watteau. Paris: Klincksieck. p.\u00a0124. ISBN\u00a0978-2-25202-822-3. OCLC\u00a0614813362.Moureau, Fran\u00e7ois (2011). Le go\u00fbt italien dans la France rocaille: th\u00e9\u00e2tre, musique, peinture (v. 1680\u20131750). Paris: Presses de l’Universit\u00e9 Paris-Sorbonne. p.\u00a083. ISBN\u00a0978-2-84050-731-4. OCLC\u00a01114979618.Nemilova, I. S. (1971). “\u041a \u0432\u043e\u043f\u0440\u043e\u0441\u0443 \u043e \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u043a\u043e\u043c \u043f\u0440\u043e\u0446\u0435\u0441\u0441\u0435 \u0410\u043d\u0442\u0443\u0430\u043d\u0430 \u0412\u0430\u0442\u0442\u043e”.  In Libman, M. Y;  et\u00a0al. (eds.). \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0417\u0430\u043f\u0430\u0434\u0430: \u0416\u0438\u0432\u043e\u043f\u0438\u0441\u044c. \u0421\u043a\u0443\u043b\u044c\u043f\u0442\u0443\u0440\u0430. \u0410\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0430. \u0422\u0435\u0430\u0442\u0440. \u041c\u0443\u0437\u044b\u043a\u0430 (in Russian). Moscow: Nauka. pp.\u00a0181\u2013195. OCLC\u00a0707104089.Nemilova, Inna (2013). “How Antoine Watteau’s Italian Actors Became French” (PDF). Hermitage Magazine. No.\u00a020. pp.\u00a0154\u2013159. ISSN\u00a02218-0338.Neverov, O. Y.; Alexinsky, D. P. (2010). The Hermitage. Vol. 1: The Treasures of World Art. New York, Milan, St. Petersburg: Rizzoli, ARCA Publishers. p.\u00a0282. ISBN\u00a0978-0-8478-3503-4. OCLC\u00a01193944908 \u2013 via the Internet Archive.Parker, Karl T. (1970) [1931]. The Drawings of Antoine Watteau. New York: Hacker Art Books. p.\u00a048. ISBN\u00a00-87817-050-2. OCLC\u00a0680613312 \u2013 via the Internet Archive.Phillips, Claude (1895). Antoine Watteau. London: Seeley and co. Limited. pp.\u00a070, 72. OCLC\u00a0729123867 \u2013 via the Internet Archive.Pilon, Edmond (1924) [1912]. Watteau et son \u00e9cole. Paris, Bruxelles: Librarie Nationale D’art dt d’histoire, G. Van Oest & cie. p.\u00a0135. OCLC\u00a0744619923 \u2013 via Google Books.Piotrovsky, Mikhail (2013). “Watteau”. Hermitage Magazine. No.\u00a020. pp.\u00a0144\u2013147. ISSN\u00a02218-0338.Schmidt-Linsenhoff, Viktoria (2008). “Ethnizit\u00e4t ist Maskerade. Eine postkoloniale Bildlekt\u00fcre von Antoine Watteaus \u00abLes Coquettes\u00bb”.  In Werner, Gabriele; Putz-Precko, Barbara (eds.). Asymmetrien. Festschrift f\u00fcr Daniela Hammer-Tugendhat zum 60. Geburtstag (in German). Wien: Eigenverlag. pp.\u00a083\u201390. ISBN\u00a0978-3852111476. OCLC\u00a0489087049.Weiner, P. P. von [in Russian], ed. (1923). Meisterwerke der Gem\u00e4ldesammlung in der Eremitage zu Petrograd (in German). M\u00fcnchen: F. Hanfstaengl. p.\u00a015. OCLC\u00a0741513217 \u2013 via the Internet Archive.R\u00e9au, Louis (1928). “Catalogue de l’art fran\u00e7ais dans les mus\u00e9es russes”. Bulletin de la Soci\u00e9t\u00e9 de l’histoire de l’art fran\u00e7ais: 167\u2013314 \u2013 via Gallica. Cat. no. 417.R\u00e9au, Louis (1928\u20131930). “Watteau”.  In Dimier, Louis (ed.). Les peintres fran\u00e7ais du XVIII-e si\u00e8cle: Histoire des vies et catalogue des \u0153uvres (in French). Vol.\u00a01. Paris: G. Van Oest. p. 34, cat. no. 57. OCLC\u00a0564527521.Schubert, Rudolf E. (2000). “Unter dem Eindruck Flanderns: Beobachtungen zu den Inspirationsquellen und der Arbeitsweise Johann Georg Plazers” [Under the Impression of Flanders: Observations on the Sources of Inspiration and Working Methods of Johann Georg Plazer]. Belvedere: Zeitschrift f\u00fcr bildende Kunst. 6: 40\u201349, 83\u201387. ISSN\u00a01025-2223.Trauth, Nina (2009). Maske und Person: Orientalismus im Portr\u00e4t des Barock (in German). Berlin, M\u00fcnchen: Deutscher Kunstverlag. pp. 84, 394, ill. 45, cat. no. 452. ISBN\u00a0978-3-422-06859-9. OCLC\u00a0762789571.Troubnikoff, Alexander [in Russian] (July\u2013September 1916). “\u0424\u0440\u0430\u043d\u0446\u0443\u0437\u0441\u043a\u0430\u044f \u0448\u043a\u043e\u043b\u0430 \u0432 \u0413\u0430\u0442\u0447\u0438\u043d\u0441\u043a\u043e\u043c \u0434\u0432\u043e\u0440\u0446\u0435 (La peinture fran\u00e7aise au ch\u00e2teau de Gatchina)” [French Painting in the Gatchina Palace]. \u0421\u0442\u0430\u0440\u044b\u0435 \u0433\u043e\u0434\u044b (in Russian). pp.\u00a049\u201367.Troubnikoff, Alexander (September 1919). “La peinture fran\u00e7aise au palais de Gatchina”. La Renaissance de l’art fran\u00e7ais et des industries de luxe. pp.\u00a0393\u2013400 \u2013 via Gallica.External links[edit]     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/actors-of-the-comedie-francaise-wikipedia\/#breadcrumbitem","name":"Actors of the Com\u00e9die-Fran\u00e7aise – Wikipedia"}}]}]