Pierrot [1883]; "The Painter Aman-Jean as Pierrot" [1883]), Léon Comerre ("Pierrot" [1884]), Henri Rousseau ("A Carnival Night" [1886]), Paul Cézanne ("Mardi gras [Pierrot and Harlequin]" [1888]), Fernand Pelez ("Grimaces and Miseries" a.k.a. "The Saltimbanques" [1888]), Pablo Picasso ("Pierrot and Columbine" [1900]), Guillaume Seignac ("Pierrot's Embrace" [1900]), and Édouard Vuillard ("The Black Pierrot" [c. 1890]). The mime "Tombre" of Jean Richepin's novel "Nice People" ("Braves Gens" [1886]) turned him into a pathetic and alcoholic "phantom"; Paul Verlaine imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. 1882). Laforgue put three of
Gilles (stock character) did Gilles "wear the same costume" as Pierrot, but both generally "had the same character" throughout the 18th century: Pierrot, like Gilles, "was a farcical creature, not a tragic or sensitive one". (Pierrot will become tearful and incipiently tragic only in the middle of the 19th century, in the hands of Paul Legrand.) "It is", writes Haskell, "hard to resist the conclusion that the consumptive Watteau has invested the figure of Gilles with some degree of self-identification, and Mrs. [Erwin] Panofsky has also pointed out that on many other occasions when painting Pierrot figures Watteau not only gave them a