La Boudeuse is the modern title[a] given to an oil on canvas painting in the Hermitage Museum, Saint Petersburg, by the French Rococo painter Antoine Watteau (1684–1721).

Completed in the late 1710s, La Boudeuse depicts a young couple set amidst a park in the foreground, in a rare example of the two-figure landscape composition which is considered one of the best fêtes galantes in Watteau's later work.

Following a number of sales in the middle of the 19th century, the painting came into possession of prominent Russian art collector, Count Pavel Stroganov [ru]; after the Revolution of 1917, La Boudeuse was transferred into the Hermitage Museum, where it remains.

The painting's known provenance, researched since the 1960s in the West and Russia respectively,[b] establishes that after Watteau's death, La Boudeuse was already in England, owned by London-based dealer Salomon Gautier, a close acquaintance of Roger de Piles; in the 1726 sale catalogue of Gautier's collection, La Boudeuse appears to be the painting under lot 34 described as "a Man and a Woman sitting, Watteau.

Following theft attempts in Winter 1919–1920, a number of paintings, including La Boudeuse, have been transferred into the Hermitage Museum out of security concerns.

1718 on stylistic grounds; given its provenance within the Walpoles' collections, Nemilova and other, notably Russian, critics speculated that Watteau might have painted it some time before or during his English trip, usually dated ca.

[31] In a 1968 catalogue raisonné, Ettore Camesasca [pt] places La Boudeuse to c. 1715, while not accepting Watteau's authorship;[32] later in 1980, Marianne Roland Michel attributed it to ca.

[39] The only one drawing by Watteau that has been associated with La Boudeuse is a red chalk study of the man's head wearing a beret (PM 749; RP 332), dated c. 1715, and now located in the Louvre.

[46] Pierre-Jean Mariette, who knew the print, gives a mention of it in his manuscripts: "Une femme assise dans un jardin ayant derrière elle, un homme qui lui parle, gravé par Pierre [sic] de Mercier.

"[47] Like others etchings by Mercier after Watteau, La Boudeuse was not featured in the Recueil Jullienne, — though some authors claimed the contrary[48] — possibly out of commercial reasons.