fêtes solennelles - Definition. Was ist fêtes solennelles
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Was (wer) ist fêtes solennelles - definition

CATEGORY OF PAINTING CREATED TO DESCRIBE ANTOINE WATTEAU'S VARIATIONS ON THE THEME OF THE FÊTE CHAMPÊTRE
Fêtes galantes; Fetes galantes; Fete galante; Fetes Galantes; Fete gallante

Les Fêtes Chinoises         
  • Boucher, 1741
  • Noverre, 1807
BALLET
Les Fetes chinoises; Les Fetes Chinoises; Fêtes Chinoises; Fetes Chinoises
Les Fêtes Chinoises is an 18th-century ballet by Jean-Georges Noverre (1727–1810). The exact date of the ballet's composition is unknown.
Les fêtes de Ramire         
OPERA
Les Fêtes de Ramire; Les fetes de Ramire; Les Fetes de Ramire; The Celebrations of Ramiro
Les fêtes de Ramire (The Celebrations of Ramiro ) is an opera in the form of a one-act acte de ballet by Jean-Philippe Rameau with a libretto by Voltaire, first performed on 22 December 1745 at the Palace of Versailles.
Les fêtes de Polymnie         
  • ''Antiochus and Stratonice'', [[Gerard de Lairesse]], 1671-1675, [[Rijksmuseum Twenthe]]
OPERA
Les fetes de Polymnie; Les Fêtes de Polymnie
Les fêtes de Polymnie (The Festivals of Polyhymnia) is an opéra-ballet in three entrées and a prologue by Jean-Philippe Rameau. The work was first performed on 12 October 1745 at the Opéra, Paris, and is set to a libretto by Louis de Cahusac.

Wikipedia

Fête galante

Fête galante (French pronunciation: ​[fɛːt ɡalɑ̃t]) (courtship party) is a category of painting specially created by the French Academy in 1717 to describe Antoine Watteau's (1684–1721) variations on the theme of the fête champêtre, which featured figures in ball dress or masquerade costumes disporting themselves amorously in parkland settings. When Watteau applied to join the French academy in 1717, there was no suitable category for his works, so the academy simply created one rather than reject his application. His reception piece was the Embarkation for Cythera, now in the Louvre.

Watteau wanted recognition from the government-appointed Academy of Painting and Sculpture. The Academy upheld the hierarchy of genres, ranking scenes of everyday life and portraits, the paintings most desired by private patrons, as lower than morally educational paintings illustrating history paintings, including allegories and scenes from mythology.