Female Bathers Near a Fountain (Nymphs Bathing in a Pool) (About 1730–1733)

Technique: Giclée quality print
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Jean-Baptiste Pater, a renowned Rococo artist and student of Antoine Watteau, brings to life a lush, enchanting scene in his painting, "Female Bathers Near a Fountain (Nymphs Bathing in a Pool)", crafted around 1730-1733. This artwork delves into the pleasures and gentle leisure typical of Rococo style, set against a beautifully rendered pastoral backdrop.Delicately balanced within a verdant landscape, the painting invites viewers into a serene yet vibrant world where several female figures—interpreted as nymphs—relish in the refreshing waters of a natural pool. The composition's foreground is animated with these graceful figures draped in flowing garments, some shedding layers, while others frolic in the waters or engage in playful interactions.The scene is framed by a grand, classical stone arch to the right, adorned with statues that add a touch of dignified grace, contrasting with the relaxed, joyful mood of the nymphs. A dramatic red cloth is elegantly draped across the arch, injecting a vibrant burst of color that complements the soft blues, greens, and reds of the garments worn by the women.In the distance, a tranquil landscape with hints of villages and mountains stretches under a soft sky, suggesting an idyllic, almost timeless paradise. Pater’s masterful use of color and light emphasizes the dreamy quality of the tableau, making it a feast for the eyes and a testament to the playful and ornate aesthetics of the Rococo era.This painting not only showcases Pater’s skill in composition and his sensitivity to color and light but also offers a glimpse into the 18th-century European aristocratic yearning for escapist and romanticized visions of nature and antiquity.

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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).