1810 Remscheid-1853 Dusseldorf, German painter. His artistic talent was recognized in 1827, while he was at school in D?sseldorf. The same year he embarked on a course in architecture at the Akademie in D?sseldorf. In 1828 he turned to the study of history painting. After a difference of opinion over the theory of art with the Director of the Akademie, Wilhelm von Schadow, Hasenclever went home to Remscheid. There he taught himself portrait painting. An example of his work from this period is the portrait of Gertraude Scharff (1832-3; Remscheid, Dt. Werkzeugmus. & Heimatmus.). From 1832 to 1838 Hasenclever again studied at the Akademie in D?sseldorf in a painting class taught by Ferdinand Theodor Hildebrandt (1804-74). In portraits and humorous genre paintings Hasenclever found a field suited to his gifts. Pithy commentaries on the everyday life of the lower middle classes are present in all of Hasenclever's work. He was best known for subjects such as wine-tastings and cellar scenes, and he also made a series of Jobs pictures, humorous, ironic interpretations of popular life based on the poem 'Jobsiade', a grotesque and comic heroic epic written by Carl Arnold Kortum in 1784.  Related Paintings of Johann Peter Hasenclever :. | Das Lesekabinett | Atelierszene | Hieronymus Jobs at His Exam | Ferdinand Freiligrath | The Construction of the Tower of Babel |
Related Artists:
LICINIO, Bernardino
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Francesco Traini
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Pater, Jean-Baptiste
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,