Jean-Antoine Watteau and Jean-Michel Basquiat - a Door

What does one of the most sellable, recognisable and arguably one of the most unique artists of the 20th century have in common with an 18th century master of fete galante – the art of depicting elegant and idle conversation?

A door.

When I read the story about an x-ray study of a painting called L'Accord parfait by Jean-Antoine Watteau and the discovery that he painted it on a carriage door, what sprang to mind was Basquiat’s Yellow Door, which I saw at the amazing Crossing Lines exhibition at NGV in 2019.

The two doors are quite literally worlds apart. In Watteau’s work the painting conceals the fact that the wood had a different function. Basquiat, in contrast, celebrates the object’s utilitarian nature.

One is bold, bright, textured, expressive. The other – subdued, gentle, ethereal.

But isn’t it funny that two entirely different artists, separated by centuries, oceans and cultures, both saw a door and decided to put marks on it, transform it, do magic with it? And here we have them. Two entirely different doors. Two magnificent works of art. Open and ready for us to enter.

Images:

Jean-Antoine Watteau, L'Accord parfait (The Perfect Match or The Perfect Accord), c 1716-1720

A reconstruction of the carriage door decorative design, discovered in an x-ray study under two Watteau paintings - L'Accord parfait and La Sérénade italienne

Jean-Michel Basquiat, Yellow Door, 1984-1986, oil, colour xerox paper, metal and collaged elements on painted door, private collection

Jean-Antoine Watteau, La Sérénade italienne, c 1716-1720