Les divertissements champêtres

Technique: Giclée quality print
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More about this artwork

Jean-Baptiste Pater's enchanting oil painting, "Les divertissements champêtres" (Country Entertainments), offers a glimpse into the idyllic and refined leisure activities of the 18th-century French aristocracy. Set in a lush, verdant landscape, the scene is replete with towering trees and a distant view that opens up to a serene expanse, suggesting the tranquil pleasures of nature.The composition features a lively gathering of elegantly dressed figures, engaging in various forms of leisurely pursuits indicative of their social class. On the left, a group of women in flowing satin gowns, accompanied by gentlemen, stands and chats, with one figure pointing towards the landscape, perhaps drawing attention to a particular feature or incident in the distance.Centrally, the painting is animated by a delightful scene of music and dance: a gentleman in brown plays a flute, accompanied by a seated man with a hurdy-gurdy, providing music for two young women dancing. Their movements are graceful and the music seems to almost emanate from the canvas, inviting viewers into the festivities.To the right, under the shadow of a large tree, more figures gather, closely engaged in conversation, their expressions animated and lively. This group adds a sense of depth and dimension to the scene, emphasizing the social nature of the event.Pater’s use of light accentuates the softness of the afternoon, with sunlight filtering through the leaves, casting gentle shadows and embellishing the fabrics’ luster. His brushwork brings out the textures of the garments and foliage, adding to the overall sensory impression of the outdoors.

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Jean-Baptiste Pater was a French rococo painter.

Born in Valenciennes, Pater was the son of sculptor Antoine Pater and studied under him before becoming a student of painter Jean-Baptiste Guide. Pater then moved to Paris, briefly becoming a pupil of Antoine Watteau in 1713. Watteau, despite treating Pater badly, had a significant influence on him. However the two quarreled and Pater returned to Valenciennes, where he remained for two years. In 1721, Pater and the dying Watteau reconciled; subsequently Pater became a student of Watteau once again, although only for a month before the latter's death. Pater later claimed to have learnt everything he knew during those few weeks with Watteau. He was accepted into the Académie in 1728, presenting a large military work in the popular Watteau style: La Rejouissance des Soldats (Louvre).