As I was saying
I’ve been writing up personal summaries of our recent trip to Vienna-Salzburg-Munich (and sprinkling them with photos off the web, which are usually far better than what we can manage), lest the memories fade from view too quickly. Pursuant to this task, I started looking up a bunch of early modern artists’ works in Google image search. Concurrently, my RSS feed alerted me to Amy Herman’s Visual Intelligence, which I acquired and have been reading with interest. In a suitably artistic state of mind, I thought I’d look up the Frick Collection (where Herman worked), just to see what kind of museum it was. Turns out, it’s in New York City (a few hours from me), and has some early modern works. So on a further whim, keenly aware of the fortuitous timing that allowed us to see the ephemeral Feste feiern and Kaiser Karl V erobert Tunis exhibits in Vienna, I checked to see what special exhibits the Frick had coming up. And, lo and behold, I find this exhibit, starting July 12 and running through October 2: Watteau’s Soldiers: Scenes of Military Life in Eighteenth-Century France. The description of the exhibit:
It would be difficult to think of an artist further removed from the muck and misery of war than Jean-Antoine Watteau (1684–1721), who is known as a painter of amorous aristocrats and melancholy actors. And yet, early in his career, Watteau painted a number of scenes of military life. They were produced during one of the darkest chapters of France’s history, the War of the Spanish Succession (1701–14), but the martial glory on which most military painters trained their gaze held no interest for Watteau. Instead, he focused on the most prosaic aspects of war — marches, halts, and encampments. The resulting works show the quiet moments between the fighting, when soldiers could rest and daydream, smoke pipes and play cards.
Presented exclusively at The Frick Collection in the summer of 2016, Watteau’s Soldiers is the first exhibition devoted solely to these captivating pictures, introducing the artist’s engagement with military life to a larger audience while exploring his unusual working methods. Among the paintings, drawings, and prints will be four of the seven known military scenes — with the Frick’s own Portal of Valenciennes as the centerpiece — as well as the recently rediscovered Supply Train, which has never before been exhibited publicly in a museum. Also featured will be thirteen studies of soldiers in red chalk, many directly related to the paintings on view, as well as a selection of works by Watteau’s predecessors and followers, the Frick’s Calvary Camp by Philips Wouwerman among them.
An accompanying book by Anne L. Poulet Curatorial Fellow Aaron Wile, published by The Frick Collection in association with D Giles, Ltd., London, will be the first illustrated catalogue of all Watteau works related to military subjects.
So if you’ll be in the region this summer, make some time to check it out. I know I will. And if you can’t, at least consider checking out the catalog. Hopefully it’ll explain why Watteau’s short career should be divided into “early” and “late” works.
More posts on the military art to come.