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Museo Nacional Thyssen-Bornemisza, Madrid
Jean-Baptiste Pater

Concert Champetre

1734
Oil on canvas.
53 x 68.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
313
(
1935.14
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
Like Watteau, Jean-Baptiste Pater was born in Valenciennes. The son of a sculptor who was a friend of Watteau, Pater first studied with his father, then in the studio of the local painter Jean-Baptiste Guidé. In 1713 he was in Paris in Watteau’s studio where he studied with the artist following Watteau’s brief period in Valenciennes around 1710. Pater seems to have left Watteau for reasons more to do with the latter’s difficult character than purely professional ones. After this experience Pater spent various years in Paris then returned to Valenciennes around 1715, moving back permanently to the capital in 1718. In 1721 the by now sick Watteau was reconciled with his former pupil in Nogent-sur-Marne. At this time Watteau’s influence on Pater’s work was evident as was the latter’s choice of subject matter which would bring him success and fame. Pater entered the Académie as a painter of fêtes galantes in 1728. His entry work was a canvas now in the Louvre that depicts a military celebration and recalls, albeit with differences, the military scenes popularised by Watteau at the start of his career.

Concert champêtre entered the Rohoncz collection in 1935 and has been included in the catalogues of the Collection since 1937. The painting was in the collection of Count Dubarry until 1774 when it was sold in Paris with its pair, another work of the same title that is now in the Metropolitan Museum of Art, New York. The canvas was in various French private collections and was in the Pierpont Morgan collection with its pair. The two paintings were split up following their sale from that collection in 1913. The present work was acquired for the Thyssen-Bornemisza collection via the Mercuria gallery in Lucerne.

Concert champêtre features the most characteristic traits of Pater’s art, which brought him such success and celebrity. It depicts a day of leisure among the urban classes of elevated social rank on the outskirts of a city. Pater organised his concert into two clearly defined groups that occupy successive pictorial planes and form a diagonal that leads the eye into a misty landscape in the background. The principal group on the left is organised around a couple, of which the man plays the guitar while the woman points to a page in the musical score that she holds, presumably suggesting a piece for him to play. The other figures around them are grouped into pairs, chatting and commenting on the scene, apart from a young man who looks with interest at the musical score. In the group on the right, which is set against a monumental architectural element, the painter places considerable emphasis on small details such as the little girl in the foreground who attracts the dog’s attention with a bone. This signed and dated canvas derives from compositions by Watteau but lacks that artist’s subtlety. The figures are painted in lively tones and the overall mood is relaxed and cheerful.

Mar Borobia
18th Century18th Century - French paintingPaintingOilcanvas
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Concert Champetre. Concierto campestre, 1734
Concert Champetre
Jean-Baptiste Pater

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Concert Champetre. Concierto campestre, 1734
Concert Champetre
Jean-Baptiste Pater

©

Museo Nacional Thyssen-Bornemisza, Madrid

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