The Guitarist (1720s)

Technique: Giclée quality print
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More about this artwork

"The Guitarist" by Jean-Baptiste Pater, dating back to the 1720s, is a compelling artwork that draws the viewer into a serene moment steeped in artistic reflection and musical contemplation. This sketch, executed with delicate red chalk, illustrates the relaxed pose of a guitarist lying on what appears to be a grassy patch, his body angled comfortably as he plays his instrument. The soft lines and subtle shading Pater uses emphasize the casual grace and contemplative mood of the musician.The artist's attention to the folds of the guitarist's clothing and the detailed rendering of his facial expression enrich the overall intimacy of the scene. Slashes of quick, confident strokes capture the essence of the player’s dynamic hand movements along the guitar. In the background, a repetition of the figure in lighter strokes, possibly studies of different poses or a technique to add depth to the piece, adds an interesting echo or dreamy quality, suggesting motion or the passage of time as music fills the air.Pater, known for his Rococo style, which often embraced lighter, more playful themes compared to his predecessor watteau, beautifully manages to convey a sense of unguarded leisure and artistic enjoyment in this drawing. "The Guitarist" serves not only as a reflection of the artist’s mastery in capturing human expression and the casual disposition of his subjects but also as a window into the 18th-century appreciation for music and the arts.

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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).