L’amour Et Le Badinage

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This enchanting artwork by Jean-Baptiste Pater, a distinguished painter from the Rococo period, is a celebration of love and playful flirtation, exquisitely captured in the painting titled "L’amour Et Le Badinage" (Love and Playfulness). Set in an idyllic landscape blurred into a romantic haziness, the painting invites viewers into a lighthearted scene of aristocratic leisure and romantic pursuit.In the foreground, Pater portrays a group of elegantly dressed figures, their attires rich with the textures and colors typical of Rococo fashion. Notable among them is a woman in a striking pink gown receiving a note or token from a suitor dressed in vibrant red, suggesting a flirtatious exchange. Another woman in a blue dress sits by herself, perhaps lost in thought, while a couple to her left seem to engage in a shared amusement, playfully interacting under the shade of a large tree.To the left, an intrigued figure peeks from behind a tree, his eyes drawn to a Cupid statue above him—perhaps a symbolic nod to the overarching theme of love that governs the scene. A small dog, typically symbolic of fidelity, enhances that thematic layer by its presence near the solitary lady.This painting not only showcases Pater’s skill in depicting delicate and lively gatherings but also serves as a window into the social and romantic dalliances of the 18th-century French upper class.

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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).