649:
626:
603:
294:
2561:, p. 354: "But since Eidelberg (1969) reestablished its provenance and retraced its origins to 1725, most of the experts have accepted the attribution to Watteau. Only Ferré (1972) and Posner (1984) have expressed reservations, but they have not excluded the possibility that Watteau had a collaborator for the figures, which seem wonderful to us even if the heroine has been skinned and has suffered noticeably from restorations;"
2565:: "Although I published the painting's notable provenance in 1969, and demonstrated Watteau's authorship, some critics have remained dubious. These include Ingamells (1977), Saint-Paulien (as recorded by Ferré), and Posner, who proposed that it was a collaboration between Watteau and Mercier, with the latter artist responsible for the landscape. Nonetheless, the painting has been accepted by the majority of modern critics."
29:
585:, but Nemilova dismissed that opinion, saying that the Louvre drawing is not related with the Hermitage painting in any way; similarly, National Gallery of Art curator Margaret Grasselli questioned if the drawing could be related to the Dresden painting. Rosenberg, who did not consider the drawing to be "a true preparatory study in the strict sense of the term", only related the drawing with
593:, Eidelberg stated that the sheet was trimmed on at least three sides, and presumed that the drawing was part of a larger study which could contain other studies from the same model, so the differences between the present drawing and the painted figure — the beret and feather are at a slightly different angle in the painting, and less of the left cheek is visible — can be explained.
2679:, p. 359: "Few of Watteau's actual panels are extant; tied to an ephemeral ornamental style, they quickly fell from fashion. Parts do survive, for the central scenes were sometimes cut out and saved (and repainted around the figures) when the ornamental surrounds were destroyed. I would propose that the following works are in fact such fragments, hitherto unrecognized:
2353:, p. 354: "The fact that it was not included in the Recueil Jullienne and that it was engraved by Philippe Mercier encouraged some scholars (Herold and Vuaflart , Rey, Adhemar) who had not seen it, except in Zimmermann's mediocre reproduction (1912), to attribute it to Mercier, although the print clearly states 'Watteau pinxit.'"
648:
672:
395:, but the latter died in 1910, before the will could be properly executed; after Pavel Stroganov's death in 1911, his collection at Sergievskaya Street was succeeded by a grandnephew, Prince Georgy Shcherbatov (1896–1976). Some time later, possibly during 1917, it was relocated into the Stroganovs' main residence, the
492:
to c. 1715, while not accepting
Watteau's authorship; later in 1980, Marianne Roland Michel attributed it to ca. 1715–1716. Rosenberg has attributed the painting to c. 1717, yet found Nemilova's dating quite convincing. Later authors, such as Renaud Temperini and Guillaume Glorieux, attribute the
466:. Nemilova dated the painting ca. 1718 on stylistic grounds; given its provenance within the Walpoles' collections, Nemilova and other, notably Russian, critics speculated that Watteau might have painted it some time before or during his English trip, usually dated ca. 1719–1720; on that ground,
327:— was sold at auction for 1,700 francs on 24 May 1852 to the certain Henri Didier, who, in turn, didn't kept the picture for long; it then passed to Charles de Ferrol, a Parisian dealer who similarly had the painting for a brief time and sold it at auction for 2,600 francs on 22 January 1856.
1515:
1314:
2549:: "The picture was attributed to Mercier by Adhémar (1950, p. 233, no. 220). The painting of the figures is weak and one cannot exclude collaboration in this area. But the landscape is masterful, and the picture can be traced back to 1726, when it was given to Watteau himself "
625:
671:
365:— was placed in his mansion in Saint Petersburg at Sergievskaya Street, present in the Green Drawing Room, a reception room at the mansion's upper floor where the collection's most notable items were also held; in an 1875 essay on Stroganov's mansion, the writer
1635:
A catalogue of a very curious collection of valuable pictures by the most eminent
Italian, French, and other masters: and likewise all the remainder and most valuable part of that fine collection of paintings, drawings, and prints of Mr. Solomon Gautier, lately
764:, Jacques Mathey, and Inna Nemilova. — stayed at the traditional attribution. Though Eidelberg's analysis of the painting, along with tracing its provenance, also confirmed Watteau's authorship on stylistic grounds, there were some reservations, notably from
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340:
209:
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collection inventory, compiled by Pieri Benard in 1810; however, this name was not used in 19th-century sources in relation to either the painting or the etching, until it came into general use following the publication of
712:, who knew the print, gives a mention of it in his manuscripts: "Une femme assise dans un jardin ayant derrière elle, un homme qui lui parle, gravé par Pierre de Mercier." Like others etchings by Mercier after Watteau,
745:, which authenticity was not previously questioned mostly due to its obscurity, was attributed to Mercier by Vuaflart and Jacques Herold, who claimed that Mercier copied figures from another composition by Watteau,
740:
and Albert
Vuaflart in the 1920s, it has been discovered that some etchings by Mercier, published as they were after Watteau, has actually been produced after Mercier's own inventions. Following this discovery,
602:
1708:: "Pictures and bronzes on the side where the altar is: A man and a woman sitting; by Watteau: from sir Robert Walpole's collection.* …*All the pictures that were not at Houghton were sold after his death.";
4673:
A description of the villa of Mr. Horace
Walpole, youngest son of Sir Robert Walpole Earl of Orford, at Strawberry-Hill near Twickenham, Middlesex: with an inventory of the furniture, pictures, curiosities,
589:; in a 1996 catalogue raisonné, he and Louis-Antoine Prat also concluded the drawing to be barely related to the painting, given the sitter's youthful appearance, different from that on the painting. In
423:
out of security concerns. Initially a temporary decision, the transfer turned out to be a permanent one, following the shutdown of the
Stroganov Palace as museum in the late 1920s. Since then,
1275:, came into use as far as the 1930s; it has been said to be an 18th-century Russian translation of the original French term. In English sources, the painting has been variously referred to as
1623:, p. 25, report that Levinson-Lessing had found a print depicting the Tribune of Horace Walpole's estate, effectively confirming the painting's provenance from the Walpole collection.
307:
formed part of the
Strawberry Hill collection until 1842, when it has been dispersed in the month-long "Great Sale"; on the 13th day of the sale, a certain Emery, who lived in London at 5
2401:, p. 455) criticise Adhémar's attribution as unfounded and speculate that on grounds related to these preservations, the painting was omitted from the original French edition of
2161:, p. 532, vol. 1, cat. no. 332: "Il est vrai que dans les deux cas, le visage, plus empâté, semble appartenir à un homme plus âge et la position du béret est différente."
4091:]. Государственный Эрмитаж. Собрание западноевропейской живописи: научный каталог в 16 томах (in Russian). Vol. 10. Leningrad: Iskusstvo. pp. 455–456; cat. no. 354.
1998:, p. 60: "163. Die Mürrische. 1715/16. Öl auf Leinwand. 42 × 34 cm. Leningrad, Eremitage. Stich von Mercier und ihm zuweilen zugeschrieben. Aber es stammt von Watteau."
752:
Vuaflart and Herold's attribution, as well as poor quality of reproductions in
Zimmermann's 1912 album, caused a scholarly debate, with some of Watteau scholars — including
3891:
2297:
remained hidden from sight when in the
Walpoles' collections in England; also it was not cited in the Watteau literature until Zimmermann's 1912 album and catalogue.
768:, Robert Raines, and Donald Posner who proposed the painting to be a collaboration of Watteau and Mercier at best, with the latter responsible for the figures.
682:
166:
depicts a young couple set amidst a park in the foreground, in a rare example of the two-figure landscape composition which is considered one of the best
5160:
3108:(exhibition catalogue). New Haven, London: Yale University Press for the State Hermitage Museum and the Paul Mellon Centre for Studies in British Art.
4813:
1105:
538:, a male figure appears to fully repeat that found on the Hermitage painting, save for his clothes' colour; there is also a similar character in
172:
in
Watteau's later work. However, the picture's authenticity was also a subject of scholarly debate, for it had been engraved by English painter
334:
belonged to the comte de Morny's agent Jean-Jacques Meffre (1804–1865), from whom it has been bought for 5,000 francs in 1859 by
Russian noble
5155:
4845:
4550:
4282:
4121:
3868:
3797:
3718:
3622:
3418:
3341:
3069:
2919:
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1924:
203:. Following a number of sales in the middle of the 19th century, the painting came into possession of prominent Russian art collector, Count
4941:
3534:
3769:
3388:
Glorieux, Guilliaume (Autumn 2006). "L'Angleterre et Watteau au XVIII e siècle: La réception de la fête galante par les amateurs anglais".
2090:
427:
forms part of the Hermitage Museum permanent exhibition; it is on view in Room 284, formerly the second room of military pictures in the
230:
The painting's known provenance, researched since the 1960s in the West and Russia respectively, establishes that after Watteau's death,
4877:
1011:
878:
3675:(exhibition catalogue). Portland, Or.: Portland Art Museum in collaboration with Harry N. Abrams. pp. 86, 127, 218, 223; cat. no. 133.
4632:
4605:
4523:
4499:
4464:
4437:
4418:
4379:
4255:
4219:
3680:
3599:
3507:
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3310:
3259:
3113:
2988:
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1589:
300:
as it appears in Room 284 of the Hermitage contemporary exhibition, the former second room of military pictures of the Winter Palace
1652:, p. 277, points out that the inventory of Robert Walpole's collection, compliled by Horace Walpole in 1736, does not mention
278:. In Strawberry Hill House, the painting was present in the Tribune (also called the Cabinet), notably depicted in watercolours by
725:
Mercier, whose early art has been influenced by that of Watteau following their acquaintance in the late 1710s, produced his own
4760:
4070:] (art book). Государственный Эрмитаж. Собрание живописи (in Russian). Moscow: Izobrazitel'noe iskusstvo. pp. 242–243.
1789:Указатель собранию картин и редких произведений художества, принадлежащих членам императорского дома и частным лицам Петербурга
316:
155:
1172:
965:
900:
262:. Upon Robert Walpole's death in 1745, his collections, except those at Houghton Hall, were put on a sale in London in 1748;
4051:Французская живопись XVIII века в Эрмитаже (La peinture française du XVIIIe siècle, Musée de L'Ermitage: catalogue raisonné)
4989:
4806:
3494:
1329:. Further research on the painting's history within the Stroganov family collection was undertaken in the 1990s and 2000s.
293:
4699:. Klassiker der Kunst (in German). Vol. 21. Stuttgart, Leipzig: Deutsche Verlags-Anstalt. pp. reproduced at p.
3765:
3196:
3171:
957:
242:
appears to be the painting under lot 34 described as "a Man and a Woman sitting, Watteau." Some time later, after 1736,
4965:
3525:
1150:
456:
366:
377:
was the sole Watteau painting in Pavel Stroganov's collection, and so was in the larger Stroganov family collection.
411:
that year, the Stroganov collections were nationalised; the Stroganov Palace was reformed into a state museum, with
4981:
753:
542:, a presumably lost painting known through a print by Jean-Michel Liotard, the twin brother of prominent pastelist
1478:
756:, Hélène Adhémar, and Ettore Camesasca — having adopted it, while the most of them — including Gilbert W. Barker,
467:
385:
5086:
5029:
4893:
462:
3225:"L'exposition de peinture française des XVIIe et XVIIIe siecles au musée de l'Ermitage, a Petrograd (1922–1925)"
335:
204:
5165:
4853:
4799:
1309:
804:
440:
350:
283:
1250:
5101:
5048:
4973:
4909:
3594:(exhibition catalogue) (in Russian). Saint Petersburg: Slavia. pp. 90 (repr.), 102, 256, 263; cat. no. 153.
3128:
2623:
1325:
1003:
800:Выставка картин и редких произведений художества, принадлежащих членам императорской фамилии и частным лицам
543:
362:
279:
4690:
3744:& Raines, Robert (1976–1978). "A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier".
3278:
445:
4933:
4917:
4861:
3229:
1527:
1154:
4580:
4491:
4410:
4406:
3446:
2980:
2434:
1862:
1822:
1770:
1255:
729:
based on Watteau's inventions. In the four-volume study of prints after Watteau's paintings published by
5021:
4700:
4625:
Watteau's Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France
2933:(conference papers) (in Russian). Saint Petersburg: Saint Petersburg University Press. pp. 143–147.
2325:, No. 132. La peinture, signalée dans la collection du comte Stroganoff à Pétrograd, représentant cette
1882:
1705:
1561:
1015:
275:
200:
3473:
3224:
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718:
181:
478:
4925:
709:
636:
515:
3643:
Jean de Julienne et les graveurs de Watteau au XVIII-e siècle. I. Notices et documents biographiques
3149:
Eidelberg, Martin (September 1975). "Watteau Paintings in England in the Early Eighteenth Century".
2938:
1633:
5096:
5013:
4768:
4737:
4250:(exhibition catalogue) (in French). Paris: Réunion des musées nationaux. pp. 168–170; cat. no. 43.
4203:
4025:
3362:À l'enseigne de Gersaint: Edme-François Gersaint, marchand d'art sur le pont Notre-Dame (1694-1750)
1059:
266:
was lot 52 on day two of the sale, when it was bought back by Sir Robert Walpole's son, the writer
4901:
4113:
1916:
730:
4786:
4195:
4152:
3831:
3753:
3436:
3397:
3158:
3137:
2632:
2186:
1262:
1067:
415:
forming its part. Following theft attempts in Winter 1919–1920, a number of paintings, including
408:
349:
was first presented to the Russian public on an exhibition organised by Stroganov in 1861 at the
251:
215:
64:
3710:
2234:
1319:. In the West, an extensive account on the painting's provenance was given in American scholar
1239:
As common case within Watteau's body of work, the painting has no author title, and so has not
5081:
5066:
5005:
4997:
4885:
4837:
4780:
4741:
4704:
4678:
4655:
4638:
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4611:
4601:
4584:
4556:
4546:
4529:
4519:
4495:
4470:
4460:
4443:
4433:
4414:
4385:
4375:
4358:
4341:
4322:
4288:
4278:
4261:
4251:
4225:
4215:
4172:
4127:
4117:
4092:
4071:
4037:
4013:
3991:
3974:
3957:
3940:
3896:
3874:
3864:
3823:
3803:
3793:
3724:
3714:
3686:
3676:
3655:
3628:
3618:
3595:
3578:
3561:
3513:
3503:
3477:
3463:
3450:
3424:
3414:
3376:
3366:
3347:
3337:
3316:
3306:
3265:
3255:
3109:
3092:
3075:
3065:
3045:
3018:
2994:
2984:
2956:
2946:
2915:
2894:
2877:
2873:
2844:
2834:
2801:
2659:
2314:
2310:
2141:
1920:
1737:
1595:
1585:
1391:
1071:
255:
234:
was already in England, owned by London-based dealer Salomon Gautier, a close acquaintance of
177:
4304:
3969:
Miller, V. F. (1923). "Французская живопись XVII-го и XVIII-го в.в. в новых залах Эрмитажа".
2405:'s 1957 book on the Hermitage and Pushkin Museum's 1955–1956 exhibitions of French painting.
1793:
5091:
4568:
3932:
3647:
3490:
3123:
3037:
2852:
2402:
1584:. Translated by Irene Gore; Catherine Matthews. London: The Gallery. pp. 32–33, cat. no. 1.
1387:
1357:
1320:
1063:
1037:
1007:
821:
Temporary exhibition of new acquisition from French painting of the 17th and 18th centuries
808:
761:
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420:
396:
173:
151:
147:
125:
121:
3299:
4869:
4822:
4701:
41, note at p. [https://archive.org/details/watteaudesmeiste0000hein/page/187/mode/1up 187
2813:
1127:
659:
527:
404:
159:
39:
5117:
4545:(exhibition catalogue). London; New Haven: Lewis Walpole Library. 52, 322; cat. no. 192.
4337:
Histoire de l'expansion de l'art français; pays scandinaves, Angleterre, Amérique du Nord
4185:
3617:] (exhibition catalogue) (in Russian). Saint Petersburg: State Hermitage Publishers.
2968:
483:
168:
4573:
4399:
3990:. Classici dell'arte (in Italian). Vol. 21. Milano: Rizzoli. p. 106; cat. no. 116.
3641:
3031:
2827:
1578:
4694:
4671:
4667:
4484:
3920:
3786:
3741:
3698:
3669:
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3294:
2973:
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1520:
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840:
267:
247:
235:
196:
192:
3467:
2695:(no. 57). They all are of similar size and have figures of about the same proportion."
735:
577:
and Mathey's catalogue, the drawing was considered to be a preliminary study for both
5149:
5076:
5071:
4248:
Watteau et la fête galante: Musée des beaux-arts de Valenciennes, 5 mars-14 juin 2004
4208:
2862:
2464:
765:
428:
259:
84:
4374:(in German). Translated by Rudolf Kimmig. Frankfurt: Ullstein. p. 60; cat. no. 163.
3936:
2945:. Meister der französischen Kunst (in German). Köln: Könemann. pp. 79, 94; fig. 69.
1362:: "8090. Bergers conduisant leurs troupeaux , et la boudeuse : 2 pièces en h.
5123:
4957:
3815:
3776:
3529:
3413:. Collection Les Phares (in French). Paris: Citadelles & Mazenod. p. 195.
2459:
1109:
757:
722:, — though some authors claimed the contrary — possibly out of commercial reasons.
460:. In the 1950s, Jacques Mathey has dated it c. 1715, placing to the same year with
320:
103:
28:
4319:
Les peintres français du XVIII-e siècle: Histoire des vies et catalogue des œuvres
4300:
4237:
Raines, Robert (February 1977). "Watteaus and 'Watteaus' in England before 1760".
2929:
Belova, Y. N. (2010). "Обольщение как игра в XVIII веке". In Orlova, N. H. (ed.).
1915:(guidebook). Translated by Valery Fateyev. Saint Petersburg: Alfa Colour. p.
1909:
1729:
A catalogue of the classic contents of Strawberry Hill collected by Horace Walpole
1381:
1351:
4513:
4335:
4055:
French Painting of the 18th centrty in the Hermitage Museum: Scientific Catalogue
3909:
3360:
2795:
2138:
The Drawings of Antoine Watteau: Stylistic Development and Problems of Chronology
1787:
1733:
323:. After a decade in the comte de Morny's collection, the painting — now known as
4194:] (in French). Vol. 3 (pt. 1). Paris: D. Morgand et C. Fatout. p.
4164:
4106:
3064:(in Russian) (2nd ed.). Saint Petersburg: Azbuka-Klassika. pp. 80–82.
574:
400:
308:
4428:
Roland Michel, Marianne (1986). "Watteau and England". In Hind, Charles (ed.).
3954:
Antoine Watteau. Peintures réapparues inconnues ou négligées par les historiens
2337:, another pastiche by Mercier, that Herold and Vuaflart were to associate with
1308:
to the Walpoles' collections in England was discovered by Soviet art historian
4682:
4131:
3995:
3921:""Капризница" Антуана Ватто: среда самоопределения современной русской поэзии"
3807:
3703:
3690:
3659:
3632:
3615:
A Forgotten Russian Patron: The Collection of Count Pavel Sergeevich Stroganov
3481:
3454:
3049:
2145:
2006:
2004:
1741:
1599:
1190:
A Forgotten Russian Patron: The Collection of Count Pavel Sergeevich Stroganov
935:
4745:
4708:
4642:
4615:
4533:
4474:
4345:
4326:
4292:
4265:
4075:
3961:
3944:
3900:
3878:
3827:
3728:
3582:
3517:
3428:
3380:
3351:
3269:
3204:
3179:
3096:
3079:
3033:
Jean de Julienne et les graveurs de Watteau au XVIII-e siècle. III. Catalogue
2960:
2898:
2848:
2833:(exhibition catalogue). London: Fontanka. pp. 55, 122–123, 127; cat. no. 86.
2663:
1395:
4659:
4600:. Maîtres de l'art (in French). Paris: Gallimard. pp. 55, 142; cat. no. 44.
4447:
4389:
4229:
4096:
4041:
4017:
3978:
3565:
3022:
961:
4362:
4176:
3320:
2621:
Cailleux, Jean (October 1972). "'Watteau and his times' at the Hermitage".
2465:
Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart
931:
Meisterwerke aus der Ermitage Leningrad und aus dem Puschkin-Museum, Moskau
4588:
3651:
3041:
2998:
2805:
4277:(exhibition catalogue) (in French). Paris: Skira Flammarion. cat. no. 9.
3818:; Halperin, Mark (Summer 2002). "The Entertainments of Antoine Watteau".
2881:
1176:
904:
882:
558:
254:, the painting probably hung either in the home of the Prime Minister at
3757:
3442:
Catalogue raisonné de l'oeuvre peint, dessiné et gravé d'Antoine Watteau
3401:
2906:
Belova, Y. N. (2008). "Мнимое кокетство «Капризницы» Антуана Ватто". In
1727:
1240:
4579:. Translated by Christopher Ligota. New York: Harry N. Abrams. p.
4156:
4143:
by Margaret Morgan Grasselli, Pierre Rosenberg and Nicole Parmentier".
4030:Ватто и его произведения в Эрмитаже (Watteau et son œuvre à l'Ermitage)
3835:
3242:
2914:(conference papers) (in Russian). Moscow: Ekon-Inform. pp. 23–28.
939:
640:
550:, a woman is shown wearing a black gown with the long slashed slevees.
519:
113:
42 cm × 34 cm (17 in × 13 in)
3914:(in Russian). Saint Petersburg: State Academy of Culture. p. 146.
3770:"Открытие ради спасения. Национализация Строгоновского дома в 1919 г."
3560:(in Russian). Vol. 1. Leningrad, Moscow: Iskusstvo. p. 270.
3162:
3141:
2636:
5134:
4112:. New York, Milan, St. Petersburg: Rizzoli, ARCA Publishers. p.
2820:(in Russian). Vol. 2. Moscow, Leningrad: Iskusstvo. p. 254.
2608:Выставка французского искусства XII-XX вв. (1956; Ленинград). Каталог
1041:
1019:
969:
844:
686:
663:
613:
570:
531:
506:
There are two surviving works by Watteau which have been compared to
199:; until the sale of 1842, it was located in Horace Walpole's estate,
4627:. New Haven, London: Yale University Press. pp. 24–25, 27, fig. 28.
4459:(in French). Paris: Gallimard-Electa. vol. 1, p. 532; cat. no. 332.
315:
for thirty nine guineas. Not long after, it came into possession of
4321:(in French). Vol. 1. Paris: G. Van Oest. p. 39, cat. no. 101.
3611:Забытый русский меценат. Собрание графа Павла Сергеевича Строганова
2979:. Classics of the World's Great Art. New York: Harry N. Abrams. p.
2610:(exhibition catalogue) (in Russian). Moscow: Iskusstvo. p. 12.
2595:(exhibition catalogue) (in Russian). Moscow: Iskusstvo. p. 24.
2140:(Thesis (Ph.D.)). Cambridge, MA: Harvard University. p. 350 n. 43.
1639:. London. 1726. p. 3, cat. no. 34 – via the Internet Archive.
4791:
4560:
3863:(in Russian). Saint Petersburg: Azbuka-Attikus. pp. 151–156.
3305:(art book). Masters of World Painting. New York: Harry N. Abrams.
2650:
Deryabina, E. V. (1987). "Антуан Ватто. 300 лет со дня рождения".
2321:, No. 303, reproduit les principaux de la composition de Watteau,
617:
292:
2269:
2267:
2257:, p. 110) also claim the presence of Mercier's print in the
2091:"Tête de jeune homme coiffé d'un béret à plume - WATTEAU Antoine"
4171:(in French). Paris: F. de Nobèle. vol. 2, p. 342, cat. no. 749.
3671:
Stroganoff: The Palace and Collections of a Russian Noble Family
1055:
Stroganoff: The Palace and Collections of a Russian Noble Family
4795:
566:
553:
The only one drawing by Watteau that has been associated with
146:
is the modern title given to an oil on canvas painting in the
4740:. Leningrad: Aurora Publishers. pp. 21, 25, 110; ill. 44–47.
4357:(in French). Paris: Librairie de France. pp. 89–90, 92.
3558:Отдел западноевропейского искусства: Каталог живописи: в 2 т.
3502:(exhibition catalogue). Washington: National Gallery of Art.
2829:
The Triumph of Eros: Art and Seduction in 18th-Century France
2468:. Vol. 35. Leipzig: Wilhelm Engelmann. pp. 190–196.
1123:
The Triumph of Eros: Art and Seduction in 18th-Century France
290:, having the same description as in the 1726 sale catalogue.
222:
was transferred into the Hermitage Museum, where it remains.
4317:
Réau, Louis (1928–1930). "Watteau". In Dimier, Louis (ed.).
4184:
Portalis, Roger; Béraldi, Henri (1882). "Mercier (Pierre)".
2558:
2462:(1942). "Watteau". In Thieme, Ulrich; Becker, Felix (eds.).
2350:
2073:
2010:
1540:
1502:
1424:
1265:'s 1875 catalogue raisonné. The contemporary Russian title,
1203:
454:
to ca. 1716–1718, placing it in relation to two versions of
4734:
Antoine Watteau: Paintings and Drawings from Soviet Museums
4727:] (альбом репродукций) (in Russian). Leningrad: Aurora.
4214:. Ithaca, NY: Cornell University Press. pp. 111, 283.
3773:Вестник Санкт-Петербургского университета. Серия 2: История
3709:. Translated by Barbara Bray. New York: Braziller. p.
3577:(in Russian). Vol. 1. Leningrad: Aurora. p. 189.
2057:
2055:
3895:(in Russian). Vol. 16, no. 762. pp. 22–24.
3365:(in French). Seysell: Editions Champ Vallon. p. 233.
477:
preferred a c. 1720 dating. In a 1968 catalogue raisonné,
3792:. Back to Visual Basics. Köln: Taschen. pp. 61, 64.
3233:(in French). Vol. 17, no. 785. pp. 163–182
2800:(in French). Paris: P. Tisné. pp. 48, 233; cat. no. 220.
4169:
Antoine Watteau: catalogue complet de son oeuvre dessiné
4083:
Nemilova, I. S. (1985b). A. S. Kantor-Gukovskaya (ed.).
3889:; Lyahovitzky, A. B. (1989). ""Сьер Ватто, живописец"".
2317:: "La gravure de Mercier à laquelle on à donné le titre
68:
3848:
Lurie, Samuil (December 1975). "Забавы Антуана Ватто".
3472:(in French) (3rd ed.). Paris: A. Quantin. p.
1792:(in Russian). Saint Petersburg: Gogenfelden and Co. p.
353:, Saint Petersburg. As part of Stroganov's collection,
4432:. London: Victoria and Albert Museum. pp. 46–59.
4309:
Bulletin de la Société de l'histoire de l'art français
3538:(in Russian). pp. 8–9, 11–12, 26–28, 39–41, 49–52
1522:
The Hermitage, Leningrad: Baroque & Rococo Masters
858:
An Exhibition of French Art of the 12th-20th Centuries
836:
An Exhibition of French Art of the 15th-20th Centuries
562:
439:
In the 1912 album and catalogue, the German historian
369:— a close friend and advisor of Stroganov — refers to
238:; in the 1726 sale catalogue of Gautier's collection,
191:
was among collections formed by the British statesman
176:, once a follower of Watteau, and was not included in
4012:(in Russian). Moscow: Molodaya Gvardiya. p. 61.
3106:
A Capital Collection: Houghton Hall and the Hermitage
493:
painting to ca. 1715–1717 and c. 1715, respectively.
4305:"Catalogue de l'art français dans les musées russes"
4036:] (in Russian). Leningrad: Sovetskiy hudozhnik.
3254:(in Russian). Moscow: Белый город. pp. 18, 27.
2518:
2198:
1498:
1496:
5110:
5059:
5040:
4829:
4246:Ramade, Patrick & Eidelberg, Martin P. (2004).
3956:(in French). Paris: F. de Nobele. pp. 17, 68.
3646:(in French). Paris: M. Rousseau. pp. 102–103, 266.
3091:. New York: Harry N. Abrams. pp. 68, 168–169.
1786:Imperial Academy of Arts, Saint Petersburg (1861).
1479:"Philippe Mercier and the French Artists in London"
1356:. Paris: De l'imprimerie de Madame Huzard. p.
361:in the collection inventory compiled by Meffre and
250:, the first British Prime Minister; as part of the
131:
117:
109:
99:
60:
45:
35:
21:
4572:
4483:
4398:
4207:
4105:
3785:
3702:
3668:
3298:
3036:(in French). Paris: M. Rousseau. p. 127, no. 303.
2972:
2861:
2826:
2095:Les collections du département des arts graphiques
1908:
1580:French Paintings from the USSR: Watteau to Matisse
1577:
1519:
4108:The Hermitage. Vol. 1: The Treasures of World Art
2593:Выставка французского искусства XV-XX вв. Каталог
2381:as a work by Mercier based on Watteau's drawing.
2329:, semble être l'oeuvre de Mercier." According to
2107:
4275:Antoine Watteau (1684-1721): la leçon de musique
3549:
3520:– via the National Gallery of Art archive.
3017:] (in Russian). Moscow: Iskusstvo. ill. 31.
2776:
2716:
1846:
1830:
1826:
1806:
1555:
1553:
1464:
1432:
1168:Antoine Watteau (1684-1721): La leçon de musique
4457:Antoine Watteau: catalogue raisonné des dessins
4455:Rosenberg, Pierre; Prat, Louis-Antoine (1996).
3336:] (in Russian). Moscow: Iskusstvo—XXI vek.
3289:(92): 341–356 – via the Internet Archive.
2728:
2385:, pp. 187–188, and subsequent iterations (
2182:
1685:
1383:Antoine Watteau, son enfance, ses contemporains
697:Philippe Mercier's print and attribution debate
4696:Watteau: des Meisters Werke in 182 Abbildungen
3859:Lurie, Samuil (2012). "Забавы Антуана Ватто".
3469:L'art du dix-huitième siècle. 1 fasc.: Watteau
3172:"Philippe Mercier, Watteau's English Follower"
2868:. Great Galleries of the World. Translated by
2704:
2306:
2210:
1878:
1858:
1818:
1781:
1779:
1766:
824:Hermitage Museum, Petrograd (later Leningrad)
88:
4807:
4490:. Leningrad: Aurora Art Publishers. pp.
4340:(in French). Paris: H. Laurens. p. 159.
3279:"Antoine Watteau: scenes et figures galantes"
2273:
2158:
1995:
1266:
677:Jean-Michel Liotard after Watteau, detail of
384:, among other pieces, to his younger brother
274:soon entered the holdings of Horace' estate,
8:
4401:Watteau: An Artist of the Eighteenth Century
2437:, says that " does not look like a Watteau."
2245:, p. 188, and subsequent reiterations (
1249:, was first applied to Mercier's etching in
696:
569:332), dated c. 1715, and now located in the
3609:Hermitage Museum, Saint Petersburg (2019).
3590:Hermitage Museum, Saint Petersburg (2003).
3104:Dukelskaya, Larissa; Moore, Andrew (2002).
2912:XVIII век: женское/мужское в культуре эпохи
1842:
1489:: 179–194 – via the Internet Archive.
4814:
4800:
4792:
4654:(in Russian). Moscow: Изогиз. p. 27.
4008:Nedoshivin, G. A.; Petrova, O. N. (1980).
3973:(in Russian). No. 1. pp. 52–78.
3640:Herold, Jacques; Vuaflart, Albert (1929).
2559:Grasselli, Rosenberg & Parmantier 1984
2389:, p. 145, translated into English as
2351:Grasselli, Rosenberg & Parmantier 1984
2074:Grasselli, Rosenberg & Parmantier 1984
2011:Grasselli, Rosenberg & Parmantier 1984
1939:
1541:Grasselli, Rosenberg & Parmantier 1984
1503:Grasselli, Rosenberg & Parmantier 1984
1425:Grasselli, Rosenberg & Parmantier 1984
1204:Grasselli, Rosenberg & Parmantier 1984
373:as "a declaration of love in the garden."
286:; it has also been mentioned in Walpole's
270:, who paid three pounds, three shillings.
162:(1684–1721). Completed in the late 1710s,
18:
4486:The Hermitage, Leningrad. Picture Gallery
4311:(in French): 167–314 – via Gallica.
4104:Neverov, O. Y.; Alexinsky, D. P. (2010).
4057:] (in Russian). Leningrad: Iskusstvo.
4001:
2562:
2514:
2430:
2410:
2398:
2330:
2290:
2286:
2214:
2194:
2170:
2123:
2061:
2022:
1983:
1894:
1754:
1709:
1681:
1669:
1665:
1656:, so it was possibly a later acquisition.
1649:
1619:, p. 25, translated into English as
1420:
1211:
1207:
561:study of the man's head wearing a beret (
319:, the half-brother of the future Emperor
4765:at the Hermitage Museum official website
3030:Dacier, Émile; Vuaflart, Albert (1922).
2676:
2502:
2478:
2426:
2406:
2394:
2382:
2250:
2242:
2190:
2119:
2046:
2034:
1979:
1963:
1796:, cat. no. 119 – via Google Books.
1612:
1444:
1408:
1201:
775:
92:
80:
3734:
3126:(May 1969). "Watteau's 'La Boudeuse'".
2764:
2740:
2390:
2386:
2374:
2254:
2246:
2226:
2077:
1967:
1866:
1701:
1620:
1616:
1544:
1428:
1342:
1232:
1200:
1085:The Stroganoffs: Patrons and Collectors
777:List of exhibitions featuring the work
598:
4725:Antoine Watteau: a reproductions album
4575:Great French Painting in the Hermitage
4034:Watteau and His Works in the Hermitage
3854:(in Russian). No. 12. p. 68.
3775:(in Russian) (2): 151–156 – via
3667:Hunter-Stiebel, Penelope, ed. (2000).
3445:(in French). Paris: Rapilly. pp.
3170:Eidelberg, Martin (October 24, 2013).
2752:
2574:
2542:
2530:
2490:
2446:
2230:
1951:
1713:
1460:
1456:
380:In his will, Stroganov wished to pass
258:or in the Walpoles' country estate at
76:
4846:Marriage Contract and Country Dancing
3841:
3733:For the original French edition, see
2578:
2333:, p. 276 n. 14, it was actually
983:Антуан Ватто. 300 лет со дня рождения
501:
7:
3705:Watteau: The Artist and His Drawings
3592:Строгановы: меценаты и коллекционеры
3573:Hermitage Museum, Leningrad (1976).
3556:Hermitage Museum, Leningrad (1958).
3277:Fourcaud, Louis de (November 1904).
2606:Hermitage Museum, Leningrad (1956).
1106:Musée des Beaux-Arts de Valenciennes
4192:Engravers of the Eighteenth Century
4187:Les graveurs du dix-huitième siècle
4167:& Mathey, Jacques (1957–1958).
4068:French Painting of the 18th Century
3911:Язык искусства в контексте культуры
3840:For the original Russian text, see
3575:Западноевропейская живопись: в 2 т.
3283:La Revue de l'art ancien et moderne
2652:Сообщения Государственного Эрмитажа
2362:
2136:Grasselli, Margaret Morgan (1987).
1194:Hermitage Museum, Saint Petersburg
1089:Hermitage Museum, Saint Petersburg
1012:Galeries nationales du Grand Palais
195:, and later by his son, the writer
2893:. London: Duckworth. p. 146.
1386:. Valenciennes: L. Henry. p.
953:Old Master Paintings from the USSR
72:
14:
5161:Paintings in the Hermitage Museum
4711:– via the Internet Archive.
4685:– via the Internet Archive.
4591:– via the Internet Archive.
4504:– via the Internet Archive.
4232:– via the Internet Archive.
4198:– via the Internet Archive.
4134:– via the Internet Archive.
4089:French Painting: the 18th Century
3810:– via the Internet Archive.
3731:– via the Internet Archive.
3693:– via the Internet Archive.
3493:& Parmantier, Nicole (1984).
3484:– via the Internet Archive.
3457:– via the Internet Archive.
3323:– via the Internet Archive.
3195:Eidelberg, Martin (August 2016).
3001:– via the Internet Archive.
2975:The Complete Paintings of Watteau
2884:– via the Internet Archive.
2719:, pp. 90, 102, 256–257, 263.
2413:, p. 276, nonetheless lists
1602:– via the Internet Archive.
1530:– via the Internet Archive.
419:, have been transferred into the
4878:The Robber of the Sparrow's Nest
4782:La Boudeuse (A Capricious Woman)
4775:Horace Walpole's Strawberry Hill
4677:. Strawberry-Hill: Th. Kirgate.
4543:Horace Walpole's Strawberry Hill
4397:Roland Michel, Marianne (1984).
4370:Roland Michel, Marianne (1980).
2519:Ingamells & Raines 1976–1978
2241:we have Jullienne's guarantee;"
2199:Ingamells & Raines 1976–1978
1526:. London: Paul Hamlyn. note no.
1243:. The traditional French title,
1146:Horace Walpole's Strawberry Hill
879:Musée des Beaux-Arts de Bordeaux
670:
647:
624:
601:
27:
4942:Actors of the Comédie-Française
4518:(in Russian). Moscow: Materik.
4372:Antoine Watteau: das Gesamtwerk
4273:Raymond, Florence, ed. (2013).
4085:Французская живопись. XVIII век
4064:Французская живопись XVIII века
3937:10.23683/2415-8852-2019-2-67-78
3089:The Hermitage Museum, Leningrad
2591:Pushkin Museum, Moscow (1955).
1907:Dobrovolsky, Vladimir (2015) .
1732:. London: Smith and Robins. p.
1350:Benard, Pierre Maurice (1810).
1220:" denotes an unnumbered entry.
658:, c. 1716–1718, oil on canvas,
635:, c. 1716–1718, oil on canvas,
612:, c. 1715, red chalk on paper,
502:Watteau's paintings and drawing
330:Some time after Ferrol's sale,
4355:Quelques satellites de Watteau
2872:. New York: Newsweek. p.
1692:Watteaux (Hor. Walpole) 3–3–."
1562:"Antoine Watteau (1684–1721),
1353:Cabinet de M. Paignon Dijonval
1033:French Paintings from the USSR
966:Art Gallery of New South Wales
704:was etched by English painter
1:
4541:Snodin, Michael, ed. (2009).
4000:For the English edition, see
3062:Рококо: От Ватто до Фрагонара
2429:, p. 106, translated as
2108:Parker & Mathey 1957–1958
2097:(in French). Musée du Louvre.
1982:, p. 106, translated as
1477:Wescher, Paul (Autumn 1951).
1323:'s 1969 article published in
896:French Art from the Hermitage
5156:Paintings by Antoine Watteau
4139:Opperman, Hal (June 1988). "
3530:"Дом графа П. С. Строганова"
3489:Grasselli, Margaret Morgan;
3409:Glorieux, Guillaume (2011).
3359:Glorieux, Guillaume (2002).
2825:Althaus, Frank, ed. (2006).
2229:, p. 48, translated as
2110:, p. 342, cat. no. 749.
987:Hermitage Museum, Leningrad
958:National Gallery of Victoria
922:Hermitage Museum, Leningrad
862:Hermitage Museum, Leningrad
246:came into possession of Sir
187:Since the mid-18th century,
4966:The Embarkation for Cythera
4732:Zolotov, Yuri, ed. (1985).
4010:Сто встреч в мире искусства
3988:L'opera completa di Watteau
3822:. No. 90. p. 23.
3087:Descargues, Pierre (1961).
2797:Watteau; sa vie, son oeuvre
2729:Ramade & Eidelberg 2004
2183:Portalis & Béraldi 1882
2025:, p. 142, cat. no. 44.
1686:Dukelskaya & Moore 2002
1151:Yale Center for British Art
457:The Embarkation for Cythera
399:at the intersection of the
53:
16:Painting by Antoine Watteau
5182:
4596:Temperini, Renaud (2002).
3788:Antoine Watteau, 1684-1721
2943:Antoine Watteau, 1684-1721
2860:Baldini, Umberto (1970) .
2377:, p. 233, classifies
2307:Herold & Vuaflart 1929
2211:Dacier & Vuaflart 1922
1251:Gilbert Paignon-Dijonval's
1241:Philippe Mercier's etching
1101:Watteau et la fête galante
345:; along with other items,
288:A Description of the Villa
4894:The Embarrassing Proposal
4062:Nemilova, I. S. (1985a).
3784:Lauterbach, Iris (2008).
3383:– via Google Books.
2931:Игровые практики культуры
2818:Всеобщая история искусств
2159:Rosenberg & Prat 1996
1560:Deryabina, E. V. (1988).
1310:Vladimir Levinson-Lessing
1267:
913:
683:Musée d'Art et d'Histoire
656:The Pleasures of the Ball
548:The Pleasures of the Ball
524:The Pleasures of the Ball
463:The Embarrassing Proposal
441:Ernst Heinrich Zimmermann
182:edition of Watteau's work
26:
4650:Volskaya, V. N. (1933).
4049:Nemilova, I. S. (1982).
3986:Montagni, E. C. (1968).
3952:Mathey, Jacques (1959).
3925:Практики и интерпретации
3908:Makhlina, S. T. (1995).
3250:Fedotova, E. D. (2002).
2864:The Hermitage, Leningrad
2794:Adhémar, Hélène (1950).
2409:, p. 212, cited in
805:Imperial Academy of Arts
716:was not featured in the
351:Imperial Academy of Arts
184:published in the 1730s.
5102:Pierre-Antoine Quillard
5049:Two Studies of an Actor
4969:(c. 1717; c. 1718-1719)
4691:Zimmermann, E. Heinrich
4482:Shapiro, Y. G. (1989).
4405:. London: Trefoil. pp.
3390:The British Art Journal
3328:German, M. Y. (2010) .
3151:The Burlington Magazine
3129:The Burlington Magazine
2624:The Burlington Magazine
1726:Robins, George (1842).
1516:Levinson-Lessing, V. F.
1380:Cellier, Louis (1867).
1326:The Burlington Magazine
1004:National Gallery of Art
363:Gustav Friedrich Waagen
5087:Edme-François Gersaint
5030:L'Enseigne de Gersaint
4862:Savoyard with a Marmot
4239:Gazette des Beaux-Arts
3919:Markov, A. V. (2019).
3230:Gazette des Beaux-Arts
3176:Watteau and His Circle
2889:Barker, G. W. (1939).
2339:Les Agrémens de l'esté
2323:Les Agréments de l'ete
2201:, p. 66, cat. no. 289.
1518:; et al. (1966).
1155:New Haven, Connecticut
747:Les Agrémens de l'esté
301:
4430:The Rococo in England
3820:The Threepenny Review
3652:10.11588/DIGLIT.41975
3550:Hermitage Museum 2019
3462:Goncourt, Edmond de;
3042:10.11588/DIGLIT.41977
2777:Hermitage Museum 2019
2717:Hermitage Museum 2003
2417:as a work by Watteau.
1847:Hermitage Museum 2019
1831:Hermitage Museum 2019
1827:Hermitage Museum 2003
1807:Hermitage Museum 2019
1465:Hermitage Museum 2019
1433:Hermitage Museum 2019
1423:, p. 276 n. 17;
1016:Charlottenburg Palace
874:La femme et l'artiste
610:Study of a Man's Head
296:
276:Strawberry Hill House
201:Strawberry Hill House
49:Between 1715 and 1718
4623:Vidal, Mary (1992).
4353:Rey, Robert (1931).
4334:Réau, Louis (1931).
3201:A Watteau Abecedario
2939:Börsch-Supan, Helmut
2707:, pp. 127, 223.
2681:"The Singing Lesson"
2237:, says, "...but for
1712:, pp. 277–278;
1690:A small Conversation
1360:– via Gallica.
1289:The Capricious Woman
1202:General references:
1173:Centre for Fine Arts
918:Watteau and His Time
710:Pierre-Jean Mariette
637:Alte Meister Gallery
591:A Watteau Abecedario
544:Jean-Étienne Liotard
516:Alte Meister Gallery
5097:Jean-Baptiste Pater
4990:Jupiter and Antiope
4515:Рукотворная красота
3746:The Walpole Society
3526:Grigorovich, Dmitry
3437:Goncourt, Edmond de
3182:on December 6, 2020
2779:, pp. 142–143.
2755:, pp. 52, 233.
2731:, pp. 168–170.
2705:Hunter-Stiebel 2000
2689:"The Sulking Woman"
2505:, pp. 187–188.
2289:, p. 275, and
1970:, pp. 25, 110.
1942:, pp. 84, 189.
1897:, pp. 155–156.
1879:Hunter-Stiebel 2000
1859:Hunter-Stiebel 2000
1819:Hunter-Stiebel 2000
1767:Hunter-Stiebel 2000
1572:. In Babin, A. A.;
1411:, pp. 107–108.
1285:The Capricious Girl
1060:Portland Art Museum
901:Museum of Fine Arts
778:
679:Entretiens amoureux
654:Watteau, detail of
631:Watteau, detail of
540:Entretiens amoureux
4787:Web Gallery of Art
4777:exhibition website
3548:Also published as
3496:Watteau, 1684-1721
3464:Goncourt, Jules de
3207:on October 3, 2019
2533:, pp. 59, 63.
2274:Roland Michel 1986
2193:, p. 143 and
1996:Roland Michel 1980
1615:, p. 29, and
1263:Edmond de Goncourt
1068:Kimbell Art Museum
776:
772:Exhibition history
367:Dmitry Grigorovich
302:
252:Walpole collection
216:Revolution of 1917
5143:
5142:
5082:Jean de Jullienne
5067:Claude Audran III
5006:The Worried Lover
4974:Fêtes Vénitiennes
4886:Pastoral Pleasure
4838:The Country Dance
4569:Sterling, Charles
4552:978-0-300-12574-0
4284:978-2-0812-9583-4
4141:Watteau 1684-1721
4123:978-0-8478-3503-4
3892:Музыкальная жизнь
3870:978-5-389-02738-1
3799:978-3-8228-5318-4
3720:978-0-269-02709-3
3624:978-5-93572-862-5
3552:, pp. 37–58.
3491:Rosenberg, Pierre
3420:978-2-85088-340-8
3343:978-5-98051-067-1
3124:Eidelberg, Martin
3071:978-5-9985-0651-2
2969:Camesasca, Ettore
2921:978-5-9506-0342-6
2908:Pakhsaryan, N. T.
2840:978-0-9543095-8-9
2685:"The Timid Lover"
2365:, pp. 89–90.
2276:, pp. 52–53.
2259:Recueil Jullienne
1926:978-5-9778-0050-1
1281:The Sulking Woman
1224:
1223:
1072:Fort Worth, Texas
999:Watteau 1684–1721
719:Recueil Jullienne
681:, 1731, etching,
633:The Feast of Love
587:The Feast of Love
583:The Feast of Love
536:The Feast of Love
512:The Feast of Love
256:10 Downing Street
178:Jean de Jullienne
139:
138:
56:
5173:
5111:Related articles
5092:Philippe Mercier
4816:
4809:
4802:
4793:
4749:
4736:. Translated by
4728:
4712:
4686:
4663:
4646:
4619:
4592:
4578:
4564:
4537:
4510:Slepyshev, A. S.
4505:
4489:
4478:
4451:
4424:
4404:
4393:
4366:
4349:
4330:
4312:
4296:
4269:
4242:
4233:
4213:
4199:
4180:
4160:
4145:The Art Bulletin
4135:
4111:
4100:
4079:
4058:
4045:
4021:
3999:
3982:
3965:
3948:
3915:
3904:
3882:
3861:Железный бульвар
3855:
3839:
3811:
3791:
3780:
3766:Kuznetsov, S. O.
3761:
3737:, pp. 1–60.
3732:
3708:
3694:
3674:
3663:
3636:
3605:
3586:
3569:
3547:
3545:
3543:
3521:
3501:
3485:
3458:
3432:
3405:
3384:
3355:
3324:
3304:
3290:
3273:
3246:
3240:
3238:
3216:
3214:
3212:
3203:. Archived from
3191:
3189:
3187:
3178:. Archived from
3166:
3157:(870): 576–583.
3145:
3136:(794): 275–278.
3119:
3100:
3083:
3053:
3026:
3007:Chegodaev, A. D.
3002:
2983:; cat. no. 116.
2978:
2964:
2934:
2925:
2902:
2885:
2867:
2856:
2853:Internet Archive
2851:– via the
2832:
2821:
2809:
2780:
2774:
2768:
2762:
2756:
2750:
2744:
2738:
2732:
2726:
2720:
2714:
2708:
2702:
2696:
2674:
2668:
2667:
2647:
2641:
2640:
2631:(835): 733–734.
2618:
2612:
2611:
2603:
2597:
2596:
2588:
2582:
2572:
2566:
2556:
2550:
2540:
2534:
2528:
2522:
2512:
2506:
2500:
2494:
2488:
2482:
2476:
2470:
2469:
2456:
2450:
2444:
2438:
2424:
2418:
2403:Charles Sterling
2372:
2366:
2360:
2354:
2348:
2342:
2335:L'Amant repoussé
2304:
2298:
2283:
2277:
2271:
2262:
2224:
2218:
2208:
2202:
2180:
2174:
2168:
2162:
2156:
2150:
2149:
2133:
2127:
2117:
2111:
2105:
2099:
2098:
2087:
2081:
2071:
2065:
2059:
2050:
2044:
2038:
2032:
2026:
2020:
2014:
2008:
1999:
1993:
1987:
1977:
1971:
1961:
1955:
1949:
1943:
1937:
1931:
1930:
1914:
1904:
1898:
1892:
1886:
1876:
1870:
1856:
1850:
1843:Grigorovich 1875
1840:
1834:
1816:
1810:
1804:
1798:
1797:
1783:
1774:
1764:
1758:
1752:
1746:
1745:
1723:
1717:
1699:
1693:
1688:, p. 456: "
1679:
1673:
1663:
1657:
1647:
1641:
1640:
1630:
1624:
1610:
1604:
1603:
1583:
1557:
1548:
1538:
1532:
1531:
1525:
1512:
1506:
1500:
1491:
1490:
1474:
1468:
1454:
1448:
1442:
1436:
1418:
1412:
1406:
1400:
1399:
1377:
1371:
1361:
1347:
1330:
1321:Martin Eidelberg
1318:
1302:
1296:
1277:The Pouting Girl
1274:
1273:
1259:
1237:
1064:Portland, Oregon
1038:National Gallery
1008:Washington, D.C.
809:Saint Petersburg
779:
762:Charles Sterling
739:
706:Philippe Mercier
674:
651:
628:
605:
568:
564:
487:
479:Ettore Camesasca
476:
449:
421:Hermitage Museum
407:. Following the
397:Stroganov Palace
394:
344:
317:Charles de Morny
213:
174:Philippe Mercier
152:Saint Petersburg
148:Hermitage Museum
126:Saint Petersburg
122:Hermitage Museum
94:
90:
82:
78:
74:
70:
51:
31:
19:
5181:
5180:
5176:
5175:
5174:
5172:
5171:
5170:
5166:1710s paintings
5146:
5145:
5144:
5139:
5106:
5055:
5036:
4982:Perfect Harmony
4870:The Two Cousins
4825:
4823:Antoine Watteau
4820:
4757:
4752:
4738:Vladimir Pozner
4731:
4715:
4689:
4668:Walpole, Horace
4666:
4649:
4635:
4622:
4608:
4595:
4567:
4553:
4540:
4526:
4508:
4502:
4481:
4467:
4454:
4440:
4427:
4421:
4396:
4382:
4369:
4352:
4333:
4316:
4299:
4285:
4272:
4258:
4245:
4236:
4222:
4210:Antoine Watteau
4202:
4183:
4165:Parker, Karl T.
4163:
4138:
4124:
4103:
4082:
4061:
4048:
4026:Nemilova, I. S.
4024:
4007:
3985:
3968:
3951:
3918:
3907:
3887:Makhlina, S. T.
3885:
3871:
3858:
3847:
3814:
3800:
3783:
3764:
3742:Ingamells, John
3740:
3721:
3697:
3683:
3666:
3639:
3625:
3608:
3602:
3589:
3572:
3555:
3541:
3539:
3524:
3510:
3499:
3488:
3461:
3435:
3421:
3408:
3387:
3373:
3358:
3344:
3334:Antoine Watteau
3327:
3313:
3301:Antoine Watteau
3293:
3276:
3262:
3249:
3236:
3234:
3219:
3210:
3208:
3194:
3185:
3183:
3169:
3148:
3122:
3116:
3103:
3086:
3072:
3056:
3029:
3015:Antoine Watteau
3005:
2991:
2967:
2953:
2937:
2928:
2922:
2905:
2891:Antoine Watteau
2888:
2859:
2841:
2824:
2812:
2793:
2789:
2784:
2783:
2775:
2771:
2763:
2759:
2751:
2747:
2739:
2735:
2727:
2723:
2715:
2711:
2703:
2699:
2675:
2671:
2649:
2648:
2644:
2620:
2619:
2615:
2605:
2604:
2600:
2590:
2589:
2585:
2573:
2569:
2557:
2553:
2541:
2537:
2529:
2525:
2517:, p. 276;
2513:
2509:
2501:
2497:
2489:
2485:
2477:
2473:
2458:
2457:
2453:
2445:
2441:
2425:
2421:
2397:, p. 142;
2393:, p. 110;
2373:
2369:
2361:
2357:
2349:
2345:
2305:
2301:
2284:
2280:
2272:
2265:
2253:, p. 142;
2249:, p. 145;
2225:
2221:
2213:, p. 127;
2209:
2205:
2197:, p. 456;
2181:
2177:
2169:
2165:
2157:
2153:
2135:
2134:
2130:
2122:, p. 188;
2118:
2114:
2106:
2102:
2089:
2088:
2084:
2076:, p. 355;
2072:
2068:
2060:
2053:
2045:
2041:
2033:
2029:
2021:
2017:
2009:
2002:
1994:
1990:
1978:
1974:
1966:, p. 188;
1962:
1958:
1950:
1946:
1940:Zimmermann 1912
1938:
1934:
1927:
1906:
1905:
1901:
1893:
1889:
1877:
1873:
1857:
1853:
1841:
1837:
1829:, p. 263;
1817:
1813:
1805:
1801:
1785:
1784:
1777:
1765:
1761:
1753:
1749:
1725:
1724:
1720:
1700:
1696:
1684:, p. 277;
1680:
1676:
1668:, p. 277;
1664:
1660:
1648:
1644:
1632:
1631:
1627:
1611:
1607:
1592:
1559:
1558:
1551:
1543:, p. 354;
1539:
1535:
1514:
1513:
1509:
1501:
1494:
1476:
1475:
1471:
1463:, p. 145;
1455:
1451:
1443:
1439:
1427:, p. 355;
1419:
1415:
1407:
1403:
1379:
1378:
1374:
1349:
1348:
1344:
1339:
1334:
1333:
1312:
1303:
1299:
1253:
1238:
1234:
1229:
1215:
1210:, p. 456,
1206:, p. 355,
1128:Hermitage Rooms
774:
733:
699:
694:
693:
692:
689:
675:
666:
660:Dulwich Gallery
652:
643:
629:
620:
606:
528:Dulwich Gallery
504:
499:
481:
470:
443:
437:
405:Nevsky Prospect
388:
359:Scéne champêtre
357:— described as
338:
336:Pavel Stroganov
325:La Conversation
228:
207:
205:Pavel Stroganov
160:Antoine Watteau
50:
40:Antoine Watteau
17:
12:
11:
5:
5179:
5177:
5169:
5168:
5163:
5158:
5148:
5147:
5141:
5140:
5138:
5137:
5132:
5120:
5114:
5112:
5108:
5107:
5105:
5104:
5099:
5094:
5089:
5084:
5079:
5074:
5069:
5063:
5061:
5060:Related people
5057:
5056:
5054:
5053:
5052:(c. 1716-1721)
5044:
5042:
5038:
5037:
5035:
5034:
5026:
5025:(c. 1714-1721)
5018:
5017:(c. 1718-1720)
5010:
5009:(c. 1715-1720)
5002:
5001:(c. 1718-1719)
4994:
4993:(c. 1714-1719)
4986:
4978:
4970:
4962:
4954:
4953:(c. 1715-1718)
4946:
4945:(c. 1711-1718)
4938:
4930:
4929:(c. 1714-1717)
4922:
4921:(c. 1712-1717)
4914:
4906:
4898:
4897:(c. 1715-1716)
4890:
4889:(c. 1714-1716)
4882:
4881:(c. 1709-1716)
4874:
4866:
4858:
4854:Cupid Disarmed
4850:
4842:
4841:(c. 1706-1710)
4833:
4831:
4827:
4826:
4821:
4819:
4818:
4811:
4804:
4796:
4790:
4789:
4778:
4766:
4756:
4755:External links
4753:
4751:
4750:
4729:
4719:, ed. (1973).
4717:Zolotov, Y. K.
4713:
4687:
4664:
4647:
4633:
4620:
4606:
4593:
4565:
4551:
4538:
4524:
4506:
4500:
4479:
4465:
4452:
4438:
4425:
4419:
4394:
4380:
4367:
4350:
4331:
4314:
4297:
4283:
4270:
4256:
4243:
4234:
4220:
4204:Posner, Donald
4200:
4181:
4161:
4151:(2): 354–359.
4136:
4122:
4101:
4080:
4059:
4046:
4022:
4005:
4002:Camesasca 1971
3983:
3966:
3949:
3927:(in Russian).
3916:
3905:
3883:
3869:
3856:
3845:
3816:Lourie, Samuil
3812:
3798:
3781:
3762:
3738:
3719:
3695:
3681:
3664:
3637:
3623:
3606:
3600:
3587:
3570:
3553:
3522:
3508:
3486:
3459:
3433:
3419:
3406:
3385:
3371:
3356:
3342:
3325:
3311:
3291:
3274:
3260:
3247:
3223:(March 1928).
3217:
3192:
3167:
3146:
3120:
3114:
3101:
3084:
3070:
3054:
3027:
3003:
2989:
2965:
2951:
2935:
2926:
2920:
2903:
2886:
2870:James Brockway
2857:
2839:
2822:
2814:Alpatov, M. V.
2810:
2790:
2788:
2785:
2782:
2781:
2769:
2757:
2745:
2743:, p. 127.
2733:
2721:
2709:
2697:
2691:(no. 46); and
2669:
2654:(in Russian).
2642:
2613:
2598:
2583:
2581:, p. 172.
2577:, p. 59;
2567:
2563:Eidelberg 2016
2551:
2535:
2523:
2515:Eidelberg 1969
2507:
2495:
2483:
2481:, p. 212.
2471:
2451:
2449:, p. 146.
2439:
2431:Camesasca 1971
2419:
2411:Eidelberg 1969
2399:Nemilova 1985b
2367:
2355:
2343:
2331:Eidelberg 1969
2299:
2291:Eidelberg 2016
2287:Eidelberg 1969
2278:
2263:
2219:
2215:Eidelberg 2016
2203:
2195:Nemilova 1985b
2175:
2171:Eidelberg 2016
2163:
2151:
2128:
2126:, p. 455.
2124:Nemilova 1985b
2112:
2100:
2082:
2066:
2064:, p. 276.
2062:Eidelberg 1969
2051:
2049:, p. 195.
2039:
2037:, p. 233.
2027:
2023:Temperini 2002
2015:
2013:, p. 355.
2000:
1988:
1986:, p. 107.
1984:Camesasca 1971
1972:
1956:
1944:
1932:
1925:
1899:
1895:Kuznetsov 2007
1887:
1871:
1869:, p. 127.
1851:
1845:, p. 51;
1835:
1833:, p. 160.
1811:
1809:, p. 224.
1799:
1775:
1759:
1757:, p. 278.
1755:Eidelberg 1969
1747:
1736:, lot no. 36.
1718:
1716:, p. 322.
1710:Eidelberg 1969
1694:
1682:Eidelberg 1969
1674:
1670:Eidelberg 2016
1666:Eidelberg 1969
1658:
1650:Eidelberg 1969
1642:
1625:
1605:
1590:
1549:
1533:
1507:
1492:
1469:
1467:, p. 142.
1459:, p. 27;
1449:
1437:
1435:, p. 142.
1431:, p. 63;
1421:Eidelberg 1969
1413:
1401:
1372:
1341:
1340:
1338:
1335:
1332:
1331:
1297:
1231:
1230:
1228:
1225:
1222:
1221:
1212:Eidelberg 2016
1208:Nemilova 1985b
1199:
1198:
1195:
1192:
1187:
1183:
1182:
1179:
1170:
1165:
1161:
1160:
1157:
1148:
1143:
1139:
1138:
1135:
1132:Somerset House
1125:
1120:
1116:
1115:
1112:
1103:
1098:
1094:
1093:
1090:
1087:
1082:
1078:
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1074:
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992:
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915:
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907:
898:
893:
889:
888:
885:
876:
871:
867:
866:
863:
860:
855:
851:
850:
847:
841:Pushkin Museum
838:
833:
829:
828:
825:
822:
819:
815:
814:
811:
802:
797:
793:
792:
789:
786:
783:
773:
770:
727:fêtes galantes
698:
695:
691:
690:
676:
669:
667:
653:
646:
644:
630:
623:
621:
607:
600:
597:
596:
595:
503:
500:
498:
495:
436:
433:
284:Edward Edwards
268:Horace Walpole
248:Robert Walpole
236:Roger de Piles
227:
224:
197:Horace Walpole
193:Robert Walpole
169:fêtes galantes
137:
136:
133:
129:
128:
119:
115:
114:
111:
107:
106:
101:
97:
96:
62:
58:
57:
47:
43:
42:
37:
33:
32:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
5178:
5167:
5164:
5162:
5159:
5157:
5154:
5153:
5151:
5136:
5133:
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5125:
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5119:
5116:
5115:
5113:
5109:
5103:
5100:
5098:
5095:
5093:
5090:
5088:
5085:
5083:
5080:
5078:
5077:Claude Gillot
5075:
5073:
5072:Pierre Crozat
5070:
5068:
5065:
5064:
5062:
5058:
5051:
5050:
5046:
5045:
5043:
5039:
5032:
5031:
5027:
5024:
5023:
5019:
5016:
5015:
5011:
5008:
5007:
5003:
5000:
4999:
4995:
4992:
4991:
4987:
4984:
4983:
4979:
4976:
4975:
4971:
4968:
4967:
4963:
4960:
4959:
4955:
4952:
4951:
4947:
4944:
4943:
4939:
4936:
4935:
4931:
4928:
4927:
4923:
4920:
4919:
4915:
4912:
4911:
4910:The Shepherds
4907:
4904:
4903:
4902:L'Indifférent
4899:
4896:
4895:
4891:
4888:
4887:
4883:
4880:
4879:
4875:
4872:
4871:
4867:
4864:
4863:
4859:
4856:
4855:
4851:
4848:
4847:
4843:
4840:
4839:
4835:
4834:
4832:
4828:
4824:
4817:
4812:
4810:
4805:
4803:
4798:
4797:
4794:
4788:
4784:
4783:
4779:
4776:
4772:
4771:
4767:
4764:
4763:
4759:
4758:
4754:
4747:
4743:
4739:
4735:
4730:
4726:
4722:
4718:
4714:
4710:
4706:
4702:
4698:
4697:
4692:
4688:
4684:
4680:
4676:
4675:
4669:
4665:
4661:
4657:
4653:
4648:
4644:
4640:
4636:
4634:0-300-05480-7
4630:
4626:
4621:
4617:
4613:
4609:
4607:2-07-011686-7
4603:
4599:
4594:
4590:
4586:
4582:
4577:
4576:
4570:
4566:
4562:
4558:
4554:
4548:
4544:
4539:
4535:
4531:
4527:
4525:5-85646-142-8
4521:
4517:
4516:
4511:
4507:
4503:
4501:5-7300-0081-2
4497:
4493:
4488:
4487:
4480:
4476:
4472:
4468:
4466:2-07-015043-7
4462:
4458:
4453:
4449:
4445:
4441:
4439:0-948107-37-5
4435:
4431:
4426:
4422:
4420:0-86294-049-4
4416:
4412:
4408:
4403:
4402:
4395:
4391:
4387:
4383:
4381:3-548-36019-X
4377:
4373:
4368:
4364:
4360:
4356:
4351:
4347:
4343:
4339:
4338:
4332:
4328:
4324:
4320:
4315:
4313:Cat. no. 417.
4310:
4306:
4302:
4298:
4294:
4290:
4286:
4280:
4276:
4271:
4267:
4263:
4259:
4257:2-7118-4677-6
4253:
4249:
4244:
4240:
4235:
4231:
4227:
4223:
4221:0-8014-1571-3
4217:
4212:
4211:
4205:
4201:
4197:
4193:
4189:
4188:
4182:
4178:
4174:
4170:
4166:
4162:
4158:
4154:
4150:
4146:
4142:
4137:
4133:
4129:
4125:
4119:
4115:
4110:
4109:
4102:
4098:
4094:
4090:
4086:
4081:
4077:
4073:
4069:
4065:
4060:
4056:
4052:
4047:
4043:
4039:
4035:
4031:
4027:
4023:
4019:
4015:
4011:
4006:
4003:
3997:
3993:
3989:
3984:
3980:
3976:
3972:
3967:
3963:
3959:
3955:
3950:
3946:
3942:
3938:
3934:
3930:
3926:
3922:
3917:
3913:
3912:
3906:
3902:
3898:
3894:
3893:
3888:
3884:
3880:
3876:
3872:
3866:
3862:
3857:
3853:
3852:
3846:
3843:
3837:
3833:
3829:
3825:
3821:
3817:
3813:
3809:
3805:
3801:
3795:
3790:
3789:
3782:
3778:
3774:
3771:
3767:
3763:
3759:
3755:
3751:
3747:
3743:
3739:
3736:
3730:
3726:
3722:
3716:
3712:
3707:
3706:
3700:
3696:
3692:
3688:
3684:
3682:0-8109-4196-1
3678:
3673:
3672:
3665:
3661:
3657:
3653:
3649:
3645:
3644:
3638:
3634:
3630:
3626:
3620:
3616:
3612:
3607:
3603:
3601:5-9501-0031-X
3597:
3593:
3588:
3584:
3580:
3576:
3571:
3567:
3563:
3559:
3554:
3551:
3537:
3536:
3531:
3527:
3523:
3519:
3515:
3511:
3509:0-89468-074-9
3505:
3498:
3497:
3492:
3487:
3483:
3479:
3475:
3471:
3470:
3465:
3460:
3456:
3452:
3448:
3444:
3443:
3438:
3434:
3430:
3426:
3422:
3416:
3412:
3407:
3403:
3399:
3395:
3392:(in French).
3391:
3386:
3382:
3378:
3374:
3372:2-87673-344-7
3368:
3364:
3363:
3357:
3353:
3349:
3345:
3339:
3335:
3331:
3326:
3322:
3318:
3314:
3312:0-8109-2221-5
3308:
3303:
3302:
3296:
3295:German, M. Y.
3292:
3288:
3285:(in French).
3284:
3280:
3275:
3271:
3267:
3263:
3261:5-7793-0471-8
3257:
3253:
3248:
3244:
3232:
3231:
3226:
3222:
3218:
3206:
3202:
3198:
3197:"La Boudeuse"
3193:
3181:
3177:
3173:
3168:
3164:
3160:
3156:
3152:
3147:
3143:
3139:
3135:
3131:
3130:
3125:
3121:
3117:
3115:0-300-09758-1
3111:
3107:
3102:
3098:
3094:
3090:
3085:
3081:
3077:
3073:
3067:
3063:
3059:
3058:Daniel, S. M.
3055:
3051:
3047:
3043:
3039:
3035:
3034:
3028:
3024:
3020:
3016:
3012:
3008:
3004:
3000:
2996:
2992:
2990:0-8109-5525-3
2986:
2982:
2977:
2976:
2970:
2966:
2962:
2958:
2954:
2952:3-8290-1630-1
2948:
2944:
2940:
2936:
2932:
2927:
2923:
2917:
2913:
2909:
2904:
2900:
2896:
2892:
2887:
2883:
2879:
2875:
2871:
2866:
2865:
2858:
2854:
2850:
2846:
2842:
2836:
2831:
2830:
2823:
2819:
2815:
2811:
2807:
2803:
2799:
2798:
2792:
2791:
2786:
2778:
2773:
2770:
2767:, p. 63.
2766:
2761:
2758:
2754:
2749:
2746:
2742:
2737:
2734:
2730:
2725:
2722:
2718:
2713:
2710:
2706:
2701:
2698:
2694:
2690:
2686:
2682:
2678:
2677:Opperman 1988
2673:
2670:
2665:
2661:
2657:
2653:
2646:
2643:
2638:
2634:
2630:
2626:
2625:
2617:
2614:
2609:
2602:
2599:
2594:
2587:
2584:
2580:
2576:
2571:
2568:
2564:
2560:
2555:
2552:
2548:
2544:
2539:
2536:
2532:
2527:
2524:
2521:, p. 66.
2520:
2516:
2511:
2508:
2504:
2503:Nemilova 1964
2499:
2496:
2493:, p. 17.
2492:
2487:
2484:
2480:
2479:Sterling 1958
2475:
2472:
2467:
2466:
2461:
2460:Vollmer, Hans
2455:
2452:
2448:
2443:
2440:
2436:
2432:
2428:
2427:Montagni 1968
2423:
2420:
2416:
2412:
2408:
2407:Sterling 1958
2404:
2400:
2396:
2395:Nemilova 1982
2392:
2388:
2384:
2383:Nemilova 1964
2380:
2376:
2371:
2368:
2364:
2359:
2356:
2352:
2347:
2344:
2340:
2336:
2332:
2328:
2324:
2320:
2316:
2312:
2308:
2303:
2300:
2296:
2292:
2288:
2285:According to
2282:
2279:
2275:
2270:
2268:
2264:
2260:
2256:
2252:
2251:Nemilova 1982
2248:
2244:
2243:Nemilova 1964
2240:
2236:
2232:
2228:
2223:
2220:
2216:
2212:
2207:
2204:
2200:
2196:
2192:
2191:Nemilova 1982
2188:
2184:
2179:
2176:
2172:
2167:
2164:
2160:
2155:
2152:
2147:
2143:
2139:
2132:
2129:
2125:
2121:
2120:Nemilova 1964
2116:
2113:
2109:
2104:
2101:
2096:
2092:
2086:
2083:
2080:, p. 63.
2079:
2075:
2070:
2067:
2063:
2058:
2056:
2052:
2048:
2047:Glorieux 2011
2043:
2040:
2036:
2035:Glorieux 2002
2031:
2028:
2024:
2019:
2016:
2012:
2007:
2005:
2001:
1997:
1992:
1989:
1985:
1981:
1980:Montagni 1968
1976:
1973:
1969:
1965:
1964:Nemilova 1964
1960:
1957:
1954:, p. 68.
1953:
1948:
1945:
1941:
1936:
1933:
1928:
1922:
1918:
1913:
1912:
1911:The Hermitage
1903:
1900:
1896:
1891:
1888:
1884:
1880:
1875:
1872:
1868:
1864:
1860:
1855:
1852:
1849:, p. 51.
1848:
1844:
1839:
1836:
1832:
1828:
1824:
1820:
1815:
1812:
1808:
1803:
1800:
1795:
1791:
1790:
1782:
1780:
1776:
1772:
1768:
1763:
1760:
1756:
1751:
1748:
1743:
1739:
1735:
1731:
1730:
1722:
1719:
1715:
1711:
1707:
1703:
1698:
1695:
1691:
1687:
1683:
1678:
1675:
1671:
1667:
1662:
1659:
1655:
1651:
1646:
1643:
1638:
1637:
1629:
1626:
1622:
1618:
1614:
1613:Nemilova 1964
1609:
1606:
1601:
1597:
1593:
1591:0-947645-55-1
1587:
1582:
1581:
1575:
1574:Suslov, V. A.
1571:
1569:
1568:Woman Sulking
1565:
1556:
1554:
1550:
1547:, p. 110
1546:
1542:
1537:
1534:
1529:
1524:
1523:
1517:
1511:
1508:
1505:, p. 354
1504:
1499:
1497:
1493:
1488:
1484:
1483:Art Quarterly
1480:
1473:
1470:
1466:
1462:
1458:
1453:
1450:
1447:, p. 27.
1446:
1445:Volskaya 1933
1441:
1438:
1434:
1430:
1426:
1422:
1417:
1414:
1410:
1409:Goncourt 1875
1405:
1402:
1397:
1393:
1389:
1385:
1384:
1376:
1373:
1369:
1365:
1359:
1355:
1354:
1346:
1343:
1336:
1328:
1327:
1322:
1316:
1311:
1307:
1301:
1298:
1294:
1293:Woman Sulking
1290:
1286:
1282:
1278:
1272:
1271:
1264:
1257:
1252:
1248:
1247:
1242:
1236:
1233:
1226:
1219:
1213:
1209:
1205:
1196:
1193:
1191:
1188:
1185:
1184:
1180:
1178:
1174:
1171:
1169:
1166:
1163:
1162:
1158:
1156:
1152:
1149:
1147:
1144:
1141:
1140:
1136:
1133:
1129:
1126:
1124:
1121:
1118:
1117:
1113:
1111:
1107:
1104:
1102:
1099:
1096:
1095:
1091:
1088:
1086:
1083:
1080:
1079:
1075:
1073:
1069:
1065:
1061:
1058:
1056:
1053:
1050:
1049:
1045:
1043:
1039:
1036:
1034:
1031:
1028:
1027:
1023:
1021:
1017:
1013:
1009:
1005:
1002:
1000:
997:
994:
993:
989:
986:
984:
981:
978:
977:
973:
971:
967:
963:
959:
956:
954:
951:
948:
947:
943:
941:
937:
934:
932:
929:
928:
924:
921:
919:
916:
912:
908:
906:
902:
899:
897:
894:
891:
890:
886:
884:
880:
877:
875:
872:
869:
868:
864:
861:
859:
856:
853:
852:
848:
846:
842:
839:
837:
834:
831:
830:
826:
823:
820:
817:
816:
812:
810:
806:
803:
801:
798:
795:
794:
790:
787:
784:
781:
780:
771:
769:
767:
763:
759:
755:
750:
748:
744:
737:
732:
728:
723:
721:
720:
715:
711:
707:
703:
688:
684:
680:
673:
668:
665:
661:
657:
650:
645:
642:
638:
634:
627:
622:
619:
615:
611:
604:
599:
594:
592:
588:
584:
580:
576:
572:
560:
556:
551:
549:
545:
541:
537:
533:
529:
526:, now in the
525:
521:
517:
514:, now in the
513:
509:
497:Related works
496:
494:
491:
485:
480:
474:
469:
465:
464:
459:
458:
453:
447:
442:
434:
432:
430:
429:Winter Palace
426:
422:
418:
414:
410:
406:
402:
398:
392:
387:
383:
378:
376:
372:
368:
364:
360:
356:
352:
348:
342:
337:
333:
328:
326:
322:
318:
314:
310:
306:
299:
295:
291:
289:
285:
281:
277:
273:
269:
265:
261:
260:Houghton Hall
257:
253:
249:
245:
241:
237:
233:
225:
223:
221:
217:
211:
206:
202:
198:
194:
190:
185:
183:
179:
175:
171:
170:
165:
161:
157:
156:French Rococo
153:
149:
145:
144:
134:
130:
127:
123:
120:
116:
112:
108:
105:
104:oil on canvas
102:
98:
86:
66:
63:
59:
55:
54:§ Dating
48:
44:
41:
38:
34:
30:
25:
20:
5128:
5124:Polish Woman
5122:
5118:Fête galante
5047:
5028:
5020:
5012:
5004:
4996:
4988:
4980:
4972:
4964:
4958:The Faux Pas
4956:
4949:
4948:
4940:
4934:The Surprise
4932:
4924:
4916:
4908:
4900:
4892:
4884:
4876:
4868:
4860:
4852:
4844:
4836:
4781:
4774:
4769:
4761:
4733:
4724:
4721:Антуан Ватто
4720:
4695:
4672:
4652:Антуан Ватто
4651:
4624:
4597:
4574:
4542:
4514:
4485:
4456:
4429:
4400:
4371:
4354:
4336:
4318:
4308:
4274:
4247:
4238:
4209:
4191:
4186:
4168:
4148:
4144:
4140:
4107:
4088:
4084:
4067:
4063:
4054:
4050:
4033:
4029:
4009:
3987:
3970:
3953:
3931:(2): 67–78.
3928:
3924:
3910:
3890:
3860:
3849:
3819:
3787:
3777:CyberLeninka
3772:
3749:
3745:
3735:Adhémar 1950
3704:
3699:Huyghe, René
3670:
3642:
3614:
3610:
3591:
3574:
3557:
3540:. Retrieved
3533:
3495:
3468:
3441:
3410:
3396:(2): 50–55.
3393:
3389:
3361:
3333:
3330:Антуан Ватто
3329:
3300:
3286:
3282:
3252:Антуан Ватто
3251:
3241:– via
3235:. Retrieved
3228:
3221:Ernst, Serge
3209:. Retrieved
3205:the original
3200:
3184:. Retrieved
3180:the original
3175:
3154:
3150:
3133:
3127:
3105:
3088:
3061:
3032:
3014:
3011:Антуан Ватто
3010:
2974:
2942:
2930:
2911:
2890:
2863:
2828:
2817:
2796:
2787:Bibliography
2772:
2765:Raymond 2013
2760:
2748:
2741:Althaus 2006
2736:
2724:
2712:
2700:
2692:
2688:
2684:
2680:
2672:
2655:
2651:
2645:
2628:
2622:
2616:
2607:
2601:
2592:
2586:
2570:
2554:
2538:
2526:
2510:
2498:
2486:
2474:
2463:
2454:
2442:
2422:
2414:
2391:Zolotov 1985
2387:Zolotov 1973
2378:
2375:Adhémar 1950
2370:
2358:
2346:
2338:
2334:
2326:
2322:
2318:
2302:
2294:
2281:
2258:
2255:Zolotov 1985
2247:Zolotov 1973
2238:
2227:Adhémar 1950
2222:
2206:
2178:
2166:
2154:
2137:
2131:
2115:
2103:
2094:
2085:
2078:Raymond 2013
2069:
2042:
2030:
2018:
1991:
1975:
1968:Zolotov 1985
1959:
1947:
1935:
1910:
1902:
1890:
1874:
1867:Althaus 2006
1854:
1838:
1814:
1802:
1788:
1762:
1750:
1728:
1721:
1702:Walpole 1784
1697:
1689:
1677:
1661:
1653:
1645:
1634:
1628:
1621:Zolotov 1985
1617:Zolotov 1973
1608:
1579:
1567:
1563:
1545:Zolotov 1985
1536:
1521:
1510:
1486:
1482:
1472:
1452:
1440:
1429:Raymond 2013
1416:
1404:
1382:
1375:
1367:
1363:
1352:
1345:
1324:
1305:
1304:Relation of
1300:
1292:
1288:
1284:
1280:
1276:
1269:
1268:
1245:
1244:
1235:
1217:
1189:
1167:
1145:
1122:
1110:Valenciennes
1100:
1084:
1054:
1032:
998:
982:
952:
930:
917:
895:
873:
857:
835:
799:
758:Hans Vollmer
751:
746:
742:
731:Émile Dacier
726:
724:
717:
713:
701:
700:
678:
655:
632:
609:
590:
586:
582:
578:
554:
552:
547:
539:
535:
523:
511:
507:
505:
489:
468:Yuri Zolotov
461:
455:
451:
438:
424:
416:
412:
381:
379:
374:
370:
358:
354:
346:
331:
329:
324:
321:Napoleon III
312:
304:
303:
297:
287:
271:
263:
243:
239:
231:
229:
219:
214:; after the
188:
186:
167:
163:
142:
141:
140:
5033:(1720-1721)
5022:Holy Family
4961:(1716-1718)
4950:La Boudeuse
4918:The Dreamer
4770:La Boudeuse
4762:La Boudeuse
4301:Réau, Louis
2753:Snodin 2009
2575:Miller 1923
2543:Posner 1984
2531:Raines 1977
2491:Mathey 1959
2447:Barker 1939
2415:La Boudeuse
2379:La Boudeuse
2319:La Boudeuse
2309:, pp.
2295:La Boudeuse
2239:La Boudeuse
2231:Huyghe 1970
2189:, cited in
1952:Mathey 1959
1714:Snodin 2009
1654:La Boudeuse
1564:La Boudeuse
1461:Belova 2010
1457:Belova 2008
1313: [
1306:La Boudeuse
1254: [
1246:La Boudeuse
743:La Boudeuse
734: [
714:La Boudeuse
702:La Boudeuse
579:La Boudeuse
555:La Boudeuse
508:La Boudeuse
490:La Boudeuse
482: [
471: [
452:La Boudeuse
450:attributed
444: [
425:La Boudeuse
417:La Boudeuse
413:La Boudeuse
401:Moika River
389: [
382:La Boudeuse
375:La Boudeuse
371:La Boudeuse
355:La Boudeuse
347:La Boudeuse
339: [
332:La Boudeuse
313:La Boudeuse
309:Bury Street
305:La Boudeuse
298:La Boudeuse
280:John Carter
272:La Boudeuse
264:La Boudeuse
244:La Boudeuse
240:La Boudeuse
232:La Boudeuse
220:La Boudeuse
208: [
189:La Boudeuse
164:La Boudeuse
143:La Boudeuse
22:La Boudeuse
5150:Categories
5129:attributed
4683:1042937948
4561:2009024158
4132:1193944908
3996:1006284992
3842:Lurie 1975
3808:1164836547
3691:1151338660
3660:1039157338
3633:1128093154
3542:19 January
3482:1157138267
3455:1041772738
3050:1039156495
2693:"Faux-pas"
2687:(no. 44),
2683:(no. 43),
2579:Ernst 1928
2545:, p.
2433:, p.
2233:, p.
2185:, p.
2146:1110196330
1881:, p.
1861:, p.
1821:, p.
1769:, p.
1742:1040244450
1704:, p.
1600:1035139931
1337:References
1270:Капризница
1119:2006–2007
1081:2003–2004
995:1984–1985
936:Albertinum
818:1922–1925
766:Jean Ferré
754:Robert Rey
409:revolution
226:Provenance
110:Dimensions
5014:Mezzetino
4985:(c. 1719)
4937:(c. 1718)
4926:The Chord
4913:(c. 1717)
4857:(c. 1715)
4849:(c. 1711)
4830:Paintings
4746:249485317
4709:561124140
4670:(1784) .
4643:260176725
4616:300225840
4534:644097710
4475:463981169
4346:457584973
4327:564527521
4293:934385505
4266:492866933
4076:878889718
3962:954214682
3945:2415-8852
3901:0131-2383
3879:999563609
3828:0275-1410
3729:556662493
3701:(1970) .
3583:995091183
3518:557740787
3466:(1880) .
3429:711039378
3381:401692541
3352:641954308
3270:445775543
3237:March 29,
3186:April 29,
3097:829900432
3080:766099212
2961:925262301
2899:556817570
2849:122256097
2664:0132-1501
2547:283 n. 72
1396:921714440
1134:, London
1014:, Paris;
962:Melbourne
791:Cat. no.
788:Location
708:c. 1725.
608:Watteau,
559:red chalk
311:, bought
154:, by the
132:Accession
61:Catalogue
5041:Drawings
4693:(1912).
4660:48528784
4571:(1958).
4512:(2004).
4448:18588917
4390:69202887
4303:(1928).
4241:: 51–64.
4230:10736607
4206:(1984).
4097:22896528
4042:67871342
4028:(1964).
4018:20321104
3979:32361994
3768:(2007).
3758:41829356
3752:: 1–70.
3566:50467017
3528:(1875).
3439:(1875).
3402:41614690
3297:(1980).
3060:(2010).
3023:40315312
3009:(1963).
2971:(1971).
2941:(2000).
2816:(1949).
2363:Rey 1931
2327:Boudeuse
1636:deseas'd
1576:(eds.).
1177:Brussels
905:Budapest
883:Bordeaux
158:painter
118:Location
4998:Pierrot
4785:at the
4773:at the
4598:Watteau
4492:112–113
4363:3143135
4177:2039948
4157:3051127
3836:4385148
3411:Watteau
3321:6998113
3243:Gallica
2910:(ed.).
1364:Ravenet
940:Dresden
641:Dresden
520:Dresden
488:places
386:Grigory
135:ГЭ-4120
5135:Rococo
4977:(1719)
4905:(1717)
4873:(1716)
4865:(1716)
4744:
4707:
4681:
4674:&c
4658:
4641:
4631:
4614:
4604:
4589:598217
4587:
4559:
4549:
4532:
4522:
4498:
4473:
4463:
4446:
4436:
4417:
4388:
4378:
4361:
4344:
4325:
4291:
4281:
4264:
4254:
4228:
4218:
4175:
4155:
4130:
4120:
4095:
4074:
4040:
4016:
3994:
3977:
3960:
3943:
3899:
3877:
3867:
3851:Аврора
3834:
3826:
3806:
3796:
3756:
3727:
3717:
3689:
3679:
3658:
3631:
3621:
3598:
3581:
3564:
3516:
3506:
3480:
3453:
3449:–108.
3427:
3417:
3400:
3379:
3369:
3350:
3340:
3319:
3309:
3268:
3258:
3211:May 9,
3163:878129
3161:
3142:875934
3140:
3112:
3095:
3078:
3068:
3048:
3021:
2999:143069
2997:
2987:
2959:
2949:
2918:
2897:
2880:
2847:
2837:
2806:853537
2804:
2662:
2658:: 75.
2637:877114
2635:
2144:
1923:
1740:
1598:
1588:
1394:
1291:, and
1042:London
1024:P. 46
1020:Berlin
970:Sydney
845:Moscow
785:Title
687:Geneva
664:London
614:Louvre
575:Parker
571:Louvre
532:London
522:, and
435:Dating
100:Medium
36:Artist
4723:[
4190:[
4153:JSTOR
4087:[
4066:[
4053:[
4032:[
3971:Город
3832:JSTOR
3754:JSTOR
3613:[
3535:Пчела
3500:(PDF)
3398:JSTOR
3332:[
3159:JSTOR
3138:JSTOR
3013:[
2882:92662
2633:JSTOR
1368:P. M.
1317:]
1258:]
1227:Notes
1186:2019
1164:2013
1142:2010
1097:2004
1051:2000
1029:1988
979:1984
949:1979
914:1972
892:1969
870:1964
854:1956
832:1955
796:1861
782:Year
738:]
618:Paris
573:. In
565:749;
557:is a
546:. In
534:. In
486:]
475:]
448:]
393:]
343:]
212:]
91:163;
87:B24;
83:116;
79:220;
75:101;
71:303;
67:114;
4742:OCLC
4705:OCLC
4679:OCLC
4656:OCLC
4639:OCLC
4629:ISBN
4612:OCLC
4602:ISBN
4585:OCLC
4557:LCCN
4547:ISBN
4530:OCLC
4520:ISBN
4496:ISBN
4471:OCLC
4461:ISBN
4444:OCLC
4434:ISBN
4415:ISBN
4386:OCLC
4376:ISBN
4359:OCLC
4342:OCLC
4323:OCLC
4289:OCLC
4279:ISBN
4262:OCLC
4252:ISBN
4226:OCLC
4216:ISBN
4173:OCLC
4128:OCLC
4118:ISBN
4093:OCLC
4072:OCLC
4038:OCLC
4014:OCLC
3992:OCLC
3975:OCLC
3958:OCLC
3941:ISSN
3897:ISSN
3875:OCLC
3865:ISBN
3824:ISSN
3804:OCLC
3794:ISBN
3750:XLVI
3725:OCLC
3715:ISBN
3687:OCLC
3677:ISBN
3656:OCLC
3629:OCLC
3619:ISBN
3596:ISBN
3579:OCLC
3562:OCLC
3544:2021
3514:OCLC
3504:ISBN
3478:OCLC
3451:OCLC
3425:OCLC
3415:ISBN
3377:OCLC
3367:ISBN
3348:OCLC
3338:ISBN
3317:OCLC
3307:ISBN
3266:OCLC
3256:ISBN
3239:2019
3213:2019
3188:2020
3110:ISBN
3093:OCLC
3076:OCLC
3066:ISBN
3046:OCLC
3019:OCLC
2995:OCLC
2985:ISBN
2957:OCLC
2947:ISBN
2916:ISBN
2895:OCLC
2878:OCLC
2845:OCLC
2835:ISBN
2802:OCLC
2660:ISSN
2142:OCLC
1921:ISBN
1738:OCLC
1596:OCLC
1586:ISBN
1392:OCLC
1370:sc."
1159:192
1092:153
1076:133
813:119
581:and
403:and
282:and
52:See
46:Year
4581:212
4411:275
4407:186
4114:285
3933:doi
3711:114
3648:doi
3447:107
3155:117
3134:111
3038:doi
2981:107
2874:107
2629:114
2435:107
2315:103
2311:102
2235:114
1863:223
1823:218
1771:223
1734:134
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1358:282
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