19th Annual GC Student Research Conference

In the early eighteenth century, the Italian theatre genre, Commedia dell’Arte, gained popularity in major cities across Europe, especially in Paris, where theatre thrived as one of the most frequent pastimes in society. The plays of Commedia dell’Arte include stock characters representative of fundamental human personalities and relationships exhibited in various scenarios. During this time in Rococo France, Jean-Antoine Watteau completed his oil painting titled Pierrot, also known as Gilles. Pierrot, the central figure in Watteau’s work, is a typical character in Commedia dell’Arte who often represents naiveté and the downtrodden. The figures are rendered within a landscape reminiscent of a wood in Flanders, an idyllic setting which could be seen circulating the art market, and was a popular topic of discussion amongst the French aristocracy. Watteau’s depiction of a Flemish landscape is not noteworthy in itself, but becomes significant when paired with figures from the theatre. This paper will explore how the themes of Commedia dell’Arte are rooted in Watteau’s Pierrot, and how the correlation between character and setting call attention to the political and social concerns of the art and theatre community in France in the years leading up the Revolution. These issues will be explored through the analysis of paintings of theatrical characters and landscapes, the plays of Commedia dell’Arte, and the opinions on theatre in this era. The rendition of the archetypal character, Pierrot, in this image signifies the influence that theatrical themes had on the European community, and reflects the interest on core human traits and values. Furthermore, I will discuss how the significance of this work is strengthened by the placement of the figures in nature, away from the stage, a setting that evokes consideration of human behavior and values.