French Rococo Era Painter, 1695-1736 French painter and draughtsman. He was taught in Valenciennes by Jean-Baptiste Guid? (master 1697; d 1711) and also by his father, Antoine Pater (1670-1747), a sculptor whose portrait was painted by Antoine Watteau (Valenciennes, Mus. B.-A.), who was also a native of Valenciennes. He probably followed Watteau to Paris after the short stay that the latter made in Valenciennes around 1710. Pater thus became a pupil of Watteau. Watteau's difficult character led to Pater's dismissal. He then spent a few hard years on his own in Paris, before returning to Valenciennes around 1715 or 1716. He tried to work independently of the local corporation of St Luc, of which he was not a member; a number of comical legal difficulties ensued, and Pater returned to Paris in 1718. There he must have been in contact with Watteau, since he worked for some of the latter's clients, such as the dealers Pierre Sirois and Edm?-Fran?ois Gersaint, and the collector Jean de Jullienne. In the spring of 1721 the dying Watteau called Pater to him at Nogent, near Paris, apparently full of remorse for his previous attitude and wishing to instruct him in the basic tenets of his painting,   Related Paintings of Pater, Jean-Baptiste :. | Soldiers Setting out from the Etape | Gathering of Actors from the Italian Comedy (mk05) | A Country Festival with Soldiers Rejoicing (mk05) | Flute Recital | A Country Festival with Soldiers Rejoicing |
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Herman Han

John Quidor
1801-1888 Quidor was born in Gloucester Co., N. J., and in 1826 moved to New York City where he studied painting under John Wesley Jarvis and Henry Inman. Afterward he lived on a farm near Quincy, Illinois, but returned to New York City in 1851. He was obliged to support himself by painting the panels of stage coaches and fire engines and died in abject poverty. Although Quidor was little appreciated in his own time, after his death he was accorded a place among the best early American artists. His paintings establish a mysterious romantic setting for scenes in which he mingled macabre elements with an earthy humor. Many of his works, such as Ichabod Crane Pursued by the Headless Horseman, in the Smithsonian American Art Museum, were inspired by the writings of Washington Irving, who was a personal friend. Irving's A History of New York gave Quidor the subjects for the four paintings in the Brooklyn (N. Y.) Institute: Dancing on the Battery (c. 1860), Peter Stuyvesant's Wall Street Gate (1864), Voyage of the Good Oloff up the Hudson (1866), and The Voyage from Communipaw to Hell Gate (1866). These show Quidor's characteristic mellow and harmonious color, poetic imagination, and naïve humor. He is represented in the Brooklyn Museum by three paintings: Dorothea, Money Diggers, and Wolfert's Will. He also painted religious subjects such as Jesus Blessing the Sick.
Andrea del Castagno
Italian c1421-1457 Andrea del Castagno Location Italian c1421-1457 Andrea del Castagno Location Italian painter. He was the most influential 15th-century Florentine master, after Masaccio, of the realistic rendering of the figure and the representation of the human body as a three-dimensional solid by means of contours. By translating into the terms of painting the statues of the Florentine sculptors Nanni di Banco and Donatello, Castagno set Florentine painting on a course dominated by line (the Florentine tradition of disegno), the effect of relief and the sculptural depiction of the figure that became its distinctive trait throughout the Italian Renaissance, a trend that culminated in the art of Michelangelo.