Embarkation For Cythera - History

History

In the ancient world, Cythera, one of the Greek islands, was thought to be the birthplace of Venus, goddess of love. Thus, the island became sacred to the goddess and love. However, the subject of Cythera may have been inspired by certain 17th century operas or an illustration of a minor play. In Florent Carton Dancourt's Les Trois Cousines, a girl dressed as a pilgrim steps out from the chorus line and invites the audience to join her on a voyage to the island, where everyone will meet their ideal partner. It was around 1709 that Watteau painted his first, more literal version of the theme, which nonetheless bears a compositional similarity to the Louvre painting. This work is now in the Städtische Galerie im Städelschen Kunstinstitut, Frankfurt-am-Main.

When Watteau was accepted as a member of the Academy in 1714, he was expected to present the customary reception piece. Although he was given unusual freedom in choosing a subject for his painting, his failure to submit a work brought several reprimands. Meanwhile, Watteau worked on numerous private commissions that his rising reputation brought him. Finally, in January, 1717, the Academy called Watteau to task, and in August of that year he presented his painting, which had been painted quickly in the preceding eight months. Once submitted, the painting caused the Academy to invent a new classification for it, since the subject was so striking and new. This resulted in the fête galantes (elegant fêtes or outdoor entertainments), a genre subsequently practiced by imitators of Watteau, such as Jean-Baptiste Pater and Nicolas Lancret.

After Watteau’s death, his art fell out of fashion. During the French Revolution, some eighty years after the work was painted, his depictions of lavishly set pastoral escapades were associated with the old days of the monarchy and a frivolous aristocracy. This particular piece, which had entered the collection of the Louvre in 1795, was used by art students for target practice; an account by Pierre Bergeret (1782–1863) describes the drawing students throwing bread pellets at it. In the early 19th century the curator at the Louvre was forced to place it in storage until 1816 in order to protect the painting from angry protesters. It was not until the 1830s that Watteau and the Rococo returned into fashion.

It has often been noted that, despite the title, the people on the island seem to be leaving rather than arriving, especially since they have already paired up. Many art historians have come up with a variety of interpretations of the allegory of the voyage to the island of love. Watteau himself purposely did not give an answer.