Le colin-maillard (Blind Man’s Buff) (c.1730-1733)

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In the delightful rococo painting "Le colin-maillard" (Blind Man’s Buff) by Jean-Baptiste Pater, painted around 1730-1733, we are invited into a playful and genteel scene of a popular parlor game set against a lush pastoral backdrop. This artwork demonstrates Pater's skill in capturing the light-hearted and romantic spirit of the Rococo period, focusing on themes of leisure and flirtation that were popular among the French aristocracy of his time.The central figure in the painting is a blindfolded woman, elegantly dressed in a flowing gown with vibrant pastel hues, who spreads her arms wide as she attempts to catch the other players. Around her, a group of elegantly attired men and women engage in the game with expressions of amusement and excitement. Their dynamic postures and the lively arrangement of the figures create a sense of movement and interaction.To the left, one man seems to be playfully teasing the blindfolded woman by touching her extended hand, guiding her gently in his direction. Spectators, including a kneeling woman and a pair of children, watch eagerly from the edges, enhancing the communal feel of the scene.The setting is an idyllic garden near an imposing castle, hinting at the noble status of the players. The soft, diffused light and the tranquil natural environment with its delicately painted foliage and distant architectural elements contribute to a sense of harmony and timelessness.

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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).