"Dancers in a Pavilion", Jean-Baptiste Pater NFT on XRPL
"Dancers in a Pavilion", Jean-Baptiste Pater
Collection: Cleveland Originals
Jean-Baptiste Pater was the sole student of the early 18th-century artist Antoine Watteau (1684,1721). Upon Watteau's death, Pater finished some of his teacher's compositions and copied them for reproduction. Due to this association, Pater was in the position to capitalize on the popularity of the fête galante genre invented by Watteau. This genre was based on the fêtes held by the aristocracy to escape the tedium of life at the French court, and depict the same amusements: conversation, music, dance, and the pursuit of love. Dancers in a Pavilion is a pastiche of several works by Watteau. The couple in this painting is most likely performing the minuet, which was considered the most flirtatious of dances. Artist Bio: Jean-Baptiste Pater (December 29, 1695 – July 25, 1736) was a French rococo painter. Early Life and Training Born in Valenciennes, Pater was the son of sculptor Antoine Pater and studied under him before becoming a student of painter Jean-Baptiste Guide. He then moved to Paris, briefly becoming a pupil of Antoine Watteau in 1713. Despite Watteau's harsh treatment, Pater was significantly influenced by him. However, they quarreled, and Pater returned to Valenciennes for two years. In 1721, Pater reconciled with the dying Watteau and became his student again for a month before Watteau's death. Pater later claimed to have learned everything he knew during those few weeks. He was accepted into the Académie in 1728, presenting a large military work in the popular Watteau style: La Rejouissance des Soldats (Louvre). Artistic Style and Career Pater adopted the popular fête galante subject matter, heavily imitating his teacher Watteau, even directly copying some figures. He used a traditional Rococo pastel palette. His most characteristic difference from other artists was his use of shimmering lines. His most prominent customer was Frederick the Great, who sat for two portraits in the "Turquerie" style: Le Sultan au Harem and Le Sultan au Jardin. One of Pater's most renowned works is Landscape with a Cart (Schloss Charlottenburg), which displays a feathery application of paint that anticipates Francesco Guardi. The delicately constructed subject matter and figures subordinated to the buildings represent a movement away from fête galante, a development cut short by Pater's death in 1736. Legacy A native of Valenciennes like Antoine Watteau, Jean-Baptiste-Joseph Pater spent a brief period as a young apprentice in Watteau's Paris studio. He found Watteau's temperament difficult and returned to Valenciennes. Back in Paris by 1718, he enjoyed a successful career painting fête galantes, similar to Watteau's works featuring elegant figures in idyllic settings. Pater reconciled with Watteau in 1721, shortly before his death, and spent the last month working closely with him. He claimed this brief period taught him everything he knew. After Watteau's death, Pater likely completed some of his unfinished paintings and inherited commissions from Watteau's patrons. Continuing the fête galante tradition, Pater was accepted into the Académie Royale in 1725 and received as a peintre des sujets modernes three years later with a painting of Soldiers Merrymaking (now in the Louvre). Although he painted portraits and military scenes, most of his work remained in the fête galante style. During his lifetime, Pater was sometimes considered Watteau's equal in this genre. He also painted numerous scenes of military encampments and marches, and received one royal commission for a painting for Versailles in 1736. Like Watteau, Pater had a brief career and died at the age of 41 in the same year. Pater's Drawings Eleven years younger than Watteau, Pater was his only documented pupil. His familiarity with Watteau's drawings is evident in his own draughtsmanship. Though his style is indebted to Watteau, Pater primarily used red chalk for drawings, sometimes with white highlights. Art historian Perrin Stein noted Pater's drawings emphasized the decorative potential of chalk strokes, using short, jabbing marks and wavy lines to create shimmering effects. Unlike Watteau's focus on compositional sketches, Pater's surviving drawings are almost entirely red chalk studies of single figures, likely reused in his paintings. However, as art historian Margaret Morgan Grasselli pointed out, similar to Watteau, Pater often created drawings without a specific composition in mind, keeping them for potential use in later works. Many of them appear not to have been used in his existing paintings.
Issuer: rLzncbwKysPuA9FvrocUKBZUbQGiBBPNk3
Taxon: 2
- technique : oil on canvas
- culture : France, 18th century
- creation date : 1720s
- artist: Jean-Baptiste Pater
- px: 4511 x 5419
NFTokenID: 00081770DB35F371D4D6B9E351DA0CF20D4EBF5F49F78DB953D86051042C1EB8
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Description
Jean-Baptiste Pater was the sole student of the early 18th-century artist Antoine Watteau (1684,1721). Upon Watteau's death, Pater finished some of his teacher's compositions and copied them for reproduction. Due to this association, Pater was in the position to capitalize on the popularity of the fête galante genre invented by Watteau. This genre was based on the fêtes held by the aristocracy to escape the tedium of life at the French court, and depict the same amusements: conversation, music, dance, and the pursuit of love. Dancers in a Pavilion is a pastiche of several works by Watteau. The couple in this painting is most likely performing the minuet, which was considered the most flirtatious of dances. Artist Bio: Jean-Baptiste Pater (December 29, 1695 – July 25, 1736) was a French rococo painter. Early Life and Training Born in Valenciennes, Pater was the son of sculptor Antoine Pater and studied under him before becoming a student of painter Jean-Baptiste Guide. He then moved to Paris, briefly becoming a pupil of Antoine Watteau in 1713. Despite Watteau's harsh treatment, Pater was significantly influenced by him. However, they quarreled, and Pater returned to Valenciennes for two years. In 1721, Pater reconciled with the dying Watteau and became his student again for a month before Watteau's death. Pater later claimed to have learned everything he knew during those few weeks. He was accepted into the Académie in 1728, presenting a large military work in the popular Watteau style: La Rejouissance des Soldats (Louvre). Artistic Style and Career Pater adopted the popular fête galante subject matter, heavily imitating his teacher Watteau, even directly copying some figures. He used a traditional Rococo pastel palette. His most characteristic difference from other artists was his use of shimmering lines. His most prominent customer was Frederick the Great, who sat for two portraits in the "Turquerie" style: Le Sultan au Harem and Le Sultan au Jardin. One of Pater's most renowned works is Landscape with a Cart (Schloss Charlottenburg), which displays a feathery application of paint that anticipates Francesco Guardi. The delicately constructed subject matter and figures subordinated to the buildings represent a movement away from fête galante, a development cut short by Pater's death in 1736. Legacy A native of Valenciennes like Antoine Watteau, Jean-Baptiste-Joseph Pater spent a brief period as a young apprentice in Watteau's Paris studio. He found Watteau's temperament difficult and returned to Valenciennes. Back in Paris by 1718, he enjoyed a successful career painting fête galantes, similar to Watteau's works featuring elegant figures in idyllic settings. Pater reconciled with Watteau in 1721, shortly before his death, and spent the last month working closely with him. He claimed this brief period taught him everything he knew. After Watteau's death, Pater likely completed some of his unfinished paintings and inherited commissions from Watteau's patrons. Continuing the fête galante tradition, Pater was accepted into the Académie Royale in 1725 and received as a peintre des sujets modernes three years later with a painting of Soldiers Merrymaking (now in the Louvre). Although he painted portraits and military scenes, most of his work remained in the fête galante style. During his lifetime, Pater was sometimes considered Watteau's equal in this genre. He also painted numerous scenes of military encampments and marches, and received one royal commission for a painting for Versailles in 1736. Like Watteau, Pater had a brief career and died at the age of 41 in the same year. Pater's Drawings Eleven years younger than Watteau, Pater was his only documented pupil. His familiarity with Watteau's drawings is evident in his own draughtsmanship. Though his style is indebted to Watteau, Pater primarily used red chalk for drawings, sometimes with white highlights. Art historian Perrin Stein noted Pater's drawings emphasized the decorative potential of chalk strokes, using short, jabbing marks and wavy lines to create shimmering effects. Unlike Watteau's focus on compositional sketches, Pater's surviving drawings are almost entirely red chalk studies of single figures, likely reused in his paintings. However, as art historian Margaret Morgan Grasselli pointed out, similar to Watteau, Pater often created drawings without a specific composition in mind, keeping them for potential use in later works. Many of them appear not to have been used in his existing paintings.
"Dancers in a Pavilion", Jean-Baptiste Pater
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