Floor plan

Artist galleriesLouis-Simon Lempereur's contemporaries

Louis-Simon Lempereur's contemporaries

Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), by Adélaïde Labille-Guiard, 1785
The image shows a man in a red coat in a river, holding on to a horse. A hat floats nearby. Three figures in 18th-century clothing stand on a rocky riverbank looking concerned. In the background, there are trees, a castle-like structure, and large clouds. The brushstrokes are detailed, capturing movement and textures. The color palette includes muted tones like earthy browns, greens, soft blue, and subtle reds.
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
A work made of oil on canvas.

The works in this room are listed below.

Works in this room

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

Section 1, north wall

  1. Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), by Adélaïde Labille-Guiard, 1785
    Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788)Adélaïde Labille-Guiard, 1785Courtesy of The Metropolitan Museum of Art
  2. The image shows a man in a red coat in a river, holding on to a horse. A hat floats nearby. Three figures in 18th-century clothing stand on a rocky riverbank looking concerned. In the background, there are trees, a castle-like structure, and large clouds. The brushstrokes are detailed, capturing movement and textures. The color palette includes muted tones like earthy browns, greens, soft blue, and subtle reds.
    Le torrent et la riviere (The Torrent and theRiver)Louis-Simon Lempereur, published 1756Courtesy National Gallery of Art, Washington
  3. 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

Section 1, south wall

  1. 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
  2. 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
  3. A work made of oil on canvas.
    Are They Thinking about the Grape? (Pensent-ils au raisin?)François Boucher, 1747Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. The Death of Socrates, by Jacques-Louis David, 1787
    The Death of SocratesJacques-Louis David, 1787Courtesy of The Metropolitan Museum of Art
  2. The Toilette of Venus, by François Boucher, 1751
    The Toilette of VenusFrançois Boucher, 1751Courtesy of The Metropolitan Museum of Art