The two rooms that introduce Jullienne as a collector provide a condensed but valid image of the preferences in painting among well-informed amateurs in mid-18th century Paris.
It cannot be emphasised enough how far Jullienne shaped the image of Watteau for an international public--both in the mid-18th century and ever since.
An early moment in his life and career is reflected in the portrait which Francois de Troy (1645-1730) painted of Jullienne in 1722 (Fig.
The portrait drawing of the artist held by Jullienne in the painting is very likely to be the one which is now in the Musee Conde (Fig.
A further twist is that Watteau's face closely resembles the painted self-portrait in Jullienne's collection; it is very possible that an original drawing by Watteau for his self-portrait served as the basis for the drawing in de Troy's painting of Jullienne.
De Troy depicted Jullienne not as a collector but as an Amateur--a man who combined an intimate knowledge of art with an informed practice.
Nicolas-Henri Tardieu's (1674-1749) famous print shows Watteau and Jean de Jullienne together in a park (Fig.
The print's focus on Jullienne and its promotional quality has often led to justified doubts concerning its model.
In the first 20 years after Watteau's death, 39 of his painting were engraved specifying Jullienne as their owner.
Jullienne the collector viewed contemporary art of the 18th century as an organic offspring from tradition.
As a sketch, the work would not be included in the Recueil, but for Jullienne it was of special interest.
8), for example, would have reminded Jullienne of Watteau's fetes galantes.
Jullienne the collector was necessarily informed and influenced by the artistic situation in Paris at Watteau's time.
1/) Dacier, Emile and Albert Vuaflart, Jean de Jullienne et les graveurs de Watteau au XVIIe siecle, 4 vols.
Isabelle Tillerot's recent monograph has provided an important basis for the catalogue: Isabelle Tillerot, Jean de Jullienne et les collectionneurs de son temps.