Starting point of this chapter is the appearance of reproduced works by the French rococo painter Antoine Watteau (1684–1721) within the stage setting of the present-day German daily soap Sturm der Liebe (since 2005). Instead of accusing this pop-cultural appropriation of ‘high art’ by an entertainment television series of being a reckless act of trivialization, it is proposed to acknowledge that practices of decontextualization and rearrangement were not only constitutive for Watteau’s own composition processes. Also, the first collectors of fêtes galantes paintings particularly appreciated their adaptable qualities. Hence, from the beginning, features like decorativeness, pleasantness, and interchangeability formed an important part of the success of Watteau’s depictions of sociable and amorous gatherings in open-air surroundings. This led to their re-application in various media and functioned to express different intentions by their users and viewers from the eighteenth to the –twenty-first centuries. The chapter concludes that the adoption of “cultural icons” from rococo art enables rather a flow of form than of content. With its focus on the ‘inconsequential’ character of sociability, that is—as sociologist Georg Simmel has suggested—enjoyed for its relational form’s sake, the genre of fêtes galantes finally is understood to render the social dynamics of reality pleasurable by disclosing their character of being an open-ended aesthetic constellation.