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Watteau's Soldiers

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Watteau's Soldiers ELECTED RESS MAGES S P I WATTEAU’S SOLDIERS: SCENES OF MILITARY LIFE IN EIGHTEENTH-CENTURY FRANCE July 12 through Sunday, October 2, 2016 THE FRICK COLLECTION, NEW YORK SELECTED PRESS IMAGE LIST Digital images are available for publicity purposes; please contact the Press Office at 212.547.6844 or [email protected]. Imagetable Dscription 1. Jean-Antoine Watteau (1684–1721) The Line of March, ca. 1710 Oil on canvas 15 3/8 x 19 5/6 inches York Museums Trust (York Art Gallery), York 2. Jean-Antoine Watteau (1684–1721) The Portal of Valenciennes, ca. 1710–11 Oil on canvas 12 3/4 x 16 inches The Frick Collection; purchased with funds from the bequest of Arthemise Redpath, 1991 Photo: Michael Bodycomb 3. Jean-Antoine Watteau (1684–1721) The Halt, ca. 1710 Oil on canvas 12 5/8 x 16 ¾ inches Museo Thyssen-Bornemisza, Madrid Photo credit: Museo Thyssen-Bornemisza, Madrid Imagetable Dscription 4. Jean-Antoine Watteau (1684–1721) The Supply Train, ca. 1715 Oil on panel 11 1/8 x 12 3/8 inches Collection Lionel and Ariane Sauvage 5. Jean-Antoine Watteau (1684–1721) Studies of Foot Soldiers, a Drummer, and Two Cavaliers (verso), ca. 1709–10 Red chalk 6 ¼ x 7 5/8 inches National Gallery of Scotland, Edinburgh Photo: Scottish National Gallery 6. Jean-Antoine Watteau (1684–1721) Two Studies of Standing Soldiers, ca. 1710 Red chalk on aged-toned paper 5 5/8 x 3 1/8 inches Collection Professor Donald Stone, New York; promised gift to the National Gallery of Art, Washington Photo: Michael Bodycomb 7. Jean-Antoine Watteau (1684–1721) Two Studies of a Soldiers Viewed from Behind, ca. 1712 Red chalk 6 3/8 x 6 1/8 inches Yale University Art Gallery, New Haven; Everett V. Meeks, B.A. 1901, Fund Photo: Yale University Art Gallery Imagetable Dscription 8. Jean-Antoine Watteau (1684–1721) Three Studies of a Soldier, One from Behind, ca. 1713–15 Red chalk 6 x 7 ¾ inches Fondation Custodia, Paris Photo: Fondation Custodia, Collection Frits Lugt, Paris 9. Jean-Antoine Watteau (1684–1721) Three Studies of Resting Soldiers (recto), ca. 1713–14 Red chalk 6 7/8 × 8 ½ inches École nationale supérieure des Beaux-Arts, Paris (1608) Photo: © Beaux-Arts de Paris, Dist. RMN-Grand Palais / Art Resource, NY 10. Jean-Antoine Watteau (1684–1721) Three Views of a Soldier, One from Behind, ca. 1713–15 Red chalk, with black ink framing 6 ¾ × 8 5/8 inches Musée du Louvre, Paris (RF 51752) Photo: © RMN-Grand Palais / Art Resource, NY 11. Jean-Antoine Watteau (1684–1721) Three Studies of Soldiers Holding Muskets and Wearing Capes, ca. 1710 Red chalk and stump on cream paper 5 ¾ × 8 inches The Courtauld Institute Galleries, London (PG 217) Photo: The Samuel Courtauld Trust, The Courtauld Gallery, London Imagetable Dscription 12. Jean-Antoine Watteau (1684–1721) Three Studies of a Soldier and a Kneeling Man, ca. 1710 Red chalk, within brown ink framing 4 ¾ × 7 5/8 inches École nationale supérieure des Beaux- Arts, Paris (1605) Photo: © Beaux-Arts de Paris, Dist. RMN-Grand Palais / Art Resource, NY 13. Philips Wouwerman (1619–1668) The Cavalry Camp, 1638–68 Oil on oak panel 16 3/4 × 20 3/4 inches The Frick Collection Photo: Michael Bodycomb RIGHTS AND REPRODUCTION INFORMATION These jpegs are on loan exclusively for publicity purposes. Please return any distributed disks to the Media Relations & Marketing Department/The Frick Collection/1 East 70th Street/New York, NY 10021. Permission for any other use of this material must be sought separately. * These photo materials may not be lent or used again for publication without prior permission. * Reproductions may not run off the edge of the paper. * Reproductions may not be superimposed with type matter or in any way defaced or altered. * The word “detail” must appear in the caption with the complete credit line in the event that a detail is used. * Required for publication: with each image, the collection and photo credits as indicated above must be included in print. * Publisher shall furnish a complimentary copy of the issue of the periodical or book in which the reproduction(s) appears. .
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