Floor plan

Artist galleriesHyacinthe Rigaud's contemporaries

Hyacinthe Rigaud's contemporaries

Portrait of Cardinal Guillaume Dubois, by Hyacinthe Rigaud, 1723
A man wearing loose, ivory-white clothing stands flanked by two groups of people in this horizontal painting. All the people have pale or peachy skin except for one person, who may have a brown mask. The man in the center, representing the character Pierrot, stands facing us with his hands by his sides. He has slightly bulging eyes, a bulbous nose, ruddy cheeks, and his full pink lips slightly smile. He wears a straw hat pushed back on his high forehead and a narrow ruffled collar around his neck. His shirt has long, voluminous sleeves and a row of small white buttons down the front. The pants are baggy and end abruptly above his white-stockinged ankles over white slippers. The fabric seems to have a sheen. In the shallow space behind him, a stone wall curves toward us to either side of a doorway that leads to a park-like setting. A crimson-red curtain is pulled to our right. Pierrot stands on the top of two steps, and the people to either side are arranged along the stage or the step that runs close to the bottom edge of the canvas. A spray of white flowers drapes down the front of the steps to our right of center. The group to our left has eight men, women, and children. Closest to us and in the lower left corner, a young man wearing a tomato-red jester’s costume trimmed with bells sits on the steps as he twists and looks back at the scene behind him. He holds a scepter or puppet in the shape of a doll-like jester. Two children gather at his feet. One weaves stems of white flowers together, and the other looks at us, smiling. Just above them another cleanshaven young man sits holding a lute in his lap. He wears a brick-red coat, brown breeches, and slate-blue stockings over crossed legs. He leans back and looks up and to our left, his round cheeks flushed. At the back of this group, two people wear tan-colored costumes covered in muted green and pink diamond shapes, and one might wear a brown mask. That person’s pink lips, black mustache and eyebrows, and black dots for eyes appear painted onto a hard, molded surface. The group of six people to our right stand on the same level as Pierrot. At the front of that group, a heavyset young man wears a gold-colored costume trimmed with black and a waist-length, Wedgewood-blue cape. He faces us but looks to our right as he leans back with one arm extended toward Pierrot. Beyond him are two woman and another person shown only from the neck up. The woman closest to Pierrot wears a pewter-gray gown with a scooped neckline. To the right of the man in gold is an old man with a long beard, wearing a black skullcap and cloak. He leans on a short staff and turns his head to look at the group. The last person on the far right is shown from the neck up and stands before the red curtain hanging from the upper right.
Seated Woman, by Antoine Watteau, 1716–17
Chalk drawing with red and black shading of man carrying crate and pack.
Mezzetin, by Antoine Watteau, ca. 1718–20
The image shows a sketch of an architectural scene with structures lining a road or pathway. The horizon is not clearly defined, and the sketch focuses on architectural details. The drawing features loose, freehand lines outlining buildings and trees, with classical elements like columns and entablatures. The color palette is monochromatic, with light parchment and dark ink strokes creating contrast. Close-up details are lightly shaded for depth, while distant details are less defined. The composition is open and airy, emphasizing architectural features over precision.
A young woman and two children are shown from the waist up through an oval, stone opening, holding and looking at a wooden box with a lens protruding from one side in this square painting. All three people have pale skin with rosy cheeks. To our right, the young woman’s body is angled to our left as she braces the torso of a young girl. The young woman looks at us from the corners of her sage-green eyes, under lifted brows. Her small, pink mouth is pursed in a slight smile, and she has a faint dimple in her rounded chin. Her heather-gray hair is partially plaited over the crown of her head, and long curls fall over her shoulders. She wears a spruce-blue shawl over the shoulders of her low-cut, olive-green dress. The child she braces has chubby cheeks, and her wavy blond hair is brushed back from her forehead and falls loosely to her shoulders. She wears a blush-pink dress with ruffles on the half-length sleeves and gossamer-white trim around the neckline and cuffs. The top and side rails of a wooden, ladderback chair up against the inside of the opening suggests she stands or kneels on a backward-facing chair. She rests her left hand on the edge of the stone opening and her other hand on the wrist of the boy standing close behind her. Mostly in the shadow behind the others, the boy has small, pointed features and short, curly, sable-brown hair. He wears a tan coat, and a muted blue scarf is tied at his throat. The two children gaze at the wooden box the boy holds, which is about the size of a toaster. A short, cylindrical, brass-lined lens pokes out of the center of the side facing the trio. The oval opening through which we see them is carved on our side with stylized leaves and berries, and the wall around it is the same elephant gray as the carvings. The girl and the box cast a shadow across the opening. The artist signed and dated the painting in the lower left corner, “Amedee Can Loo./1764.”
Portrait of Mademoiselle Marie-Anne Adelaide Le Normand, by François Dumont, c. 1793

The works in this room are listed below.

Works in this room

A few works by Hyacinthe Rigaud, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

With their contemporaries

  1. Portrait of Cardinal Guillaume Dubois, by Hyacinthe Rigaud, 1723
    Portrait of Cardinal Guillaume DuboisHyacinthe Rigaud, 1723Courtesy of the Cleveland Museum of Art
  2. A man wearing loose, ivory-white clothing stands flanked by two groups of people in this horizontal painting. All the people have pale or peachy skin except for one person, who may have a brown mask. The man in the center, representing the character Pierrot, stands facing us with his hands by his sides. He has slightly bulging eyes, a bulbous nose, ruddy cheeks, and his full pink lips slightly smile. He wears a straw hat pushed back on his high forehead and a narrow ruffled collar around his neck. His shirt has long, voluminous sleeves and a row of small white buttons down the front. The pants are baggy and end abruptly above his white-stockinged ankles over white slippers. The fabric seems to have a sheen. In the shallow space behind him, a stone wall curves toward us to either side of a doorway that leads to a park-like setting. A crimson-red curtain is pulled to our right. Pierrot stands on the top of two steps, and the people to either side are arranged along the stage or the step that runs close to the bottom edge of the canvas. A spray of white flowers drapes down the front of the steps to our right of center. The group to our left has eight men, women, and children. Closest to us and in the lower left corner, a young man wearing a tomato-red jester’s costume trimmed with bells sits on the steps as he twists and looks back at the scene behind him. He holds a scepter or puppet in the shape of a doll-like jester. Two children gather at his feet. One weaves stems of white flowers together, and the other looks at us, smiling. Just above them another cleanshaven young man sits holding a lute in his lap. He wears a brick-red coat, brown breeches, and slate-blue stockings over crossed legs. He leans back and looks up and to our left, his round cheeks flushed. At the back of this group, two people wear tan-colored costumes covered in muted green and pink diamond shapes, and one might wear a brown mask. That person’s pink lips, black mustache and eyebrows, and black dots for eyes appear painted onto a hard, molded surface. The group of six people to our right stand on the same level as Pierrot. At the front of that group, a heavyset young man wears a gold-colored costume trimmed with black and a waist-length, Wedgewood-blue cape. He faces us but looks to our right as he leans back with one arm extended toward Pierrot. Beyond him are two woman and another person shown only from the neck up. The woman closest to Pierrot wears a pewter-gray gown with a scooped neckline. To the right of the man in gold is an old man with a long beard, wearing a black skullcap and cloak. He leans on a short staff and turns his head to look at the group. The last person on the far right is shown from the neck up and stands before the red curtain hanging from the upper right.
    The Italian ComediansAntoine Watteau, probably 1720Courtesy National Gallery of Art, Washington
  3. Seated Woman, by Antoine Watteau, 1716–17
    Seated WomanAntoine Watteau, 1716–17Courtesy of The Metropolitan Museum of Art
  4. Chalk drawing with red and black shading of man carrying crate and pack.
    The Old SavoyardAntoine Watteau, c. 1715Courtesy of the Art Institute of Chicago

Their contemporaries

  1. Mezzetin, by Antoine Watteau, ca. 1718–20
    MezzetinAntoine Watteau, ca. 1718–20Courtesy of The Metropolitan Museum of Art
  2. The image shows a sketch of an architectural scene with structures lining a road or pathway. The horizon is not clearly defined, and the sketch focuses on architectural details. The drawing features loose, freehand lines outlining buildings and trees, with classical elements like columns and entablatures. The color palette is monochromatic, with light parchment and dark ink strokes creating contrast. Close-up details are lightly shaded for depth, while distant details are less defined. The composition is open and airy, emphasizing architectural features over precision.
    Ancient Ruins on the Bank of the TiberAugustin Pajou, 1752/1756Courtesy National Gallery of Art, Washington
  3. A young woman and two children are shown from the waist up through an oval, stone opening, holding and looking at a wooden box with a lens protruding from one side in this square painting. All three people have pale skin with rosy cheeks. To our right, the young woman’s body is angled to our left as she braces the torso of a young girl. The young woman looks at us from the corners of her sage-green eyes, under lifted brows. Her small, pink mouth is pursed in a slight smile, and she has a faint dimple in her rounded chin. Her heather-gray hair is partially plaited over the crown of her head, and long curls fall over her shoulders. She wears a spruce-blue shawl over the shoulders of her low-cut, olive-green dress. The child she braces has chubby cheeks, and her wavy blond hair is brushed back from her forehead and falls loosely to her shoulders. She wears a blush-pink dress with ruffles on the half-length sleeves and gossamer-white trim around the neckline and cuffs. The top and side rails of a wooden, ladderback chair up against the inside of the opening suggests she stands or kneels on a backward-facing chair. She rests her left hand on the edge of the stone opening and her other hand on the wrist of the boy standing close behind her. Mostly in the shadow behind the others, the boy has small, pointed features and short, curly, sable-brown hair. He wears a tan coat, and a muted blue scarf is tied at his throat. The two children gaze at the wooden box the boy holds, which is about the size of a toaster. A short, cylindrical, brass-lined lens pokes out of the center of the side facing the trio. The oval opening through which we see them is carved on our side with stylized leaves and berries, and the wall around it is the same elephant gray as the carvings. The girl and the box cast a shadow across the opening. The artist signed and dated the painting in the lower left corner, “Amedee Can Loo./1764.”
    The Camera ObscuraCharles Amédée Philippe Van Loo, 1764Courtesy National Gallery of Art, Washington
  4. Portrait of Mademoiselle Marie-Anne Adelaide Le Normand, by François Dumont, c. 1793
    Portrait of Mademoiselle Marie-Anne Adelaide Le NormandFrançois Dumont, c. 1793Courtesy of the Cleveland Museum of Art