Concert Champêtre (ca. 1734)

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More about this artwork

Jean-Baptiste Pater's "Concert Champêtre" (circa 1734), is a vibrant and engaging painting that captures the essence of Rococo art through its playful and pastoral mood. Set in a lush, arcadian landscape, the painting depicts a joyful gathering of elegantly dressed figures engaging in music and conversation.At the center of the composition, a group of men and women are arranged in a semi-circle, with some seated and others standing. The men are dressed in bright, colorful attire typical of the 18th-century French aristocracy, while the women wear flowing dresses with delicate ribbons and lace, their hairstyles adorned with ribbons and flowers. One of the men, possibly the central figure of the party, plays a flute, providing musical entertainment for the assembly.To the right, the scene becomes a bit more intimate and whimsical, with two cherubic figures playing with a goat on a slightly elevated mound, partially obscured by the shade of the trees. This inclusion of playful cherubs adds a mythical or allegorical layer to the scene, hinting at themes of pastoral innocence and the joyous unrestraint found in nature.The background reveals a distant landscape under a soft, serene sky, suggesting that this merriment is taking place in an idyllic, remote setting. The use of light and shadow, along with the soft brushstrokes, creates a sense of depth and volume, enveloping the viewer in this enchanting outdoor concert."Concert Champêtre" is a fine example of Pater's work, showcasing his skill in capturing the carefree and luxurious life of the French elite with charm and a light-hearted spirit.

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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).