Floor plan

Time and place18th-century France

18th-century France

In a room filled with easels, white plaster heads and statuettes, a box of paints, books, and papers, a young woman stands looking at a sketch and a young girl looks on, seated in an armchair, in this vertical painting. The scene is lit from the upper left, presumably from a window out of our view. Both women have smooth, pale skin, and their hair is swept up with curls framing their faces. They face our right in profile so their faces are in gentle shadow. They have straight noses, and their rose-pink lips are closed. They wear gowns with short sleeves, low, scooped necks, and floor-length skirts cinched under the bust. In the center of the painting, the young woman has chestnut-brown hair and wears a white gown tied with a sky-blue ribbon. She stands in front of a portfolio propped up against a tall easel. The portfolio is made of two stiff boards that tie together with pale blue ribbon to secure large sheets of paper. She rests her right hand, closer to us, on the front board of the portfolio and looks down at the sketch on a gray piece of paper she holds with her other hand. Next to her and closer to us, the younger girl sits in a gold chair upholstered with olive-green velvet. She faces our right almost in profile, and she looks up toward the drawing the other woman holds. The girl in the chair has blond hair and a gold-colored dress. Her feet are propped on a gold footstool, and she holds another portfolio on her lap. She supports the portfolio and holds a piece of paper with one hand, and a stylus or brush in the other hand, up by her chin. To the right of the easel, a wooden table holds a collection of plaster casts of faces, a hand, and small-scale bodies along with a glass vessel and a few other tools. Two translucent green bottles, boxes, a book, and a terracotta vase are collected on the footstool and the floor around the base of the easel. Garnet-red cloths are draped down the front of the table to our right and behind the girl on the chair. Next to her chair, in the lower left corner of the composition, is a wooden box with a paint palette and a handful of thin paintbrushes. A scroll of paper lies next to the box. A shelf at the standing girl’s shoulder height and behind the pair, to our left, is piled with white busts of a man, child, and woman, more figurines, and a brush in a small cup, all arranged across a moss-green cloth. The space with the girls and artist’s tools is enclosed by a large, dark brown form, presumably a canvas in shadow, that leans against the tall easels and mostly cuts off a view into the rest of the room. A glimpse of shadowy capitals is seen over the board, across the top of the painting, to suggest that a row of columns recedes into the space beyond. The artist signed the work as if he had painted his name on the floor next to the scroll, “L. Boilly.”
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.
Marie Emilie Coignet de Courson (1716–1806) with a Dog, by Jean Honoré Fragonard, ca. 1769
The Death of Socrates, by Jacques-Louis David, 1787
The image shows an ancient ruin with arches and crumbling stonework surrounded by overgrown vegetation. The horizon is slightly elevated, emphasizing the towering remnants of the architecture. Expressive brushstrokes and textures are notable, especially in the vines and leaves on the stone. The color palette is subdued, mainly earthy tones and black, creating contrast and suggesting openings into the distance, enhancing the old, abandoned feel of the ruins.
Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.

The works in this room are listed below.

Works in this room

Works made in France in the 18th century.

Section 1, north wall

  1. In a room filled with easels, white plaster heads and statuettes, a box of paints, books, and papers, a young woman stands looking at a sketch and a young girl looks on, seated in an armchair, in this vertical painting. The scene is lit from the upper left, presumably from a window out of our view. Both women have smooth, pale skin, and their hair is swept up with curls framing their faces. They face our right in profile so their faces are in gentle shadow. They have straight noses, and their rose-pink lips are closed. They wear gowns with short sleeves, low, scooped necks, and floor-length skirts cinched under the bust. In the center of the painting, the young woman has chestnut-brown hair and wears a white gown tied with a sky-blue ribbon. She stands in front of a portfolio propped up against a tall easel. The portfolio is made of two stiff boards that tie together with pale blue ribbon to secure large sheets of paper. She rests her right hand, closer to us, on the front board of the portfolio and looks down at the sketch on a gray piece of paper she holds with her other hand. Next to her and closer to us, the younger girl sits in a gold chair upholstered with olive-green velvet. She faces our right almost in profile, and she looks up toward the drawing the other woman holds. The girl in the chair has blond hair and a gold-colored dress. Her feet are propped on a gold footstool, and she holds another portfolio on her lap. She supports the portfolio and holds a piece of paper with one hand, and a stylus or brush in the other hand, up by her chin. To the right of the easel, a wooden table holds a collection of plaster casts of faces, a hand, and small-scale bodies along with a glass vessel and a few other tools. Two translucent green bottles, boxes, a book, and a terracotta vase are collected on the footstool and the floor around the base of the easel. Garnet-red cloths are draped down the front of the table to our right and behind the girl on the chair. Next to her chair, in the lower left corner of the composition, is a wooden box with a paint palette and a handful of thin paintbrushes. A scroll of paper lies next to the box. A shelf at the standing girl’s shoulder height and behind the pair, to our left, is piled with white busts of a man, child, and woman, more figurines, and a brush in a small cup, all arranged across a moss-green cloth. The space with the girls and artist’s tools is enclosed by a large, dark brown form, presumably a canvas in shadow, that leans against the tall easels and mostly cuts off a view into the rest of the room. A glimpse of shadowy capitals is seen over the board, across the top of the painting, to suggest that a row of columns recedes into the space beyond. The artist signed the work as if he had painted his name on the floor next to the scroll, “L. Boilly.”
    A Painter's StudioLouis-Léopold Boilly, c. 1800Courtesy National Gallery of Art, Washington
  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. Marie Emilie Coignet de Courson (1716–1806) with a Dog, by Jean Honoré Fragonard, ca. 1769
    Marie Emilie Coignet de Courson (1716–1806) with a DogJean Honoré Fragonard, ca. 1769Courtesy of The Metropolitan Museum of Art

Section 1, 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 image shows an ancient ruin with arches and crumbling stonework surrounded by overgrown vegetation. The horizon is slightly elevated, emphasizing the towering remnants of the architecture. Expressive brushstrokes and textures are notable, especially in the vines and leaves on the stone. The color palette is subdued, mainly earthy tones and black, creating contrast and suggesting openings into the distance, enhancing the old, abandoned feel of the ruins.
    Arches of the Larger Baths at Hadrian's VillaCharles Michel-Ange Challe, c. 1748Courtesy National Gallery of Art, Washington
  3. Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.
    A Game of Hot CocklesJean Honoré Fragonard, c. 1775/1780Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. A work made of crayon manner engraving in red and black on cream laid paper.
    The Young DraftsmanGilles Demarteau, 1750/70Courtesy of the Art Institute of Chicago
  2. Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), by Adélaïde Labille-Guiard, 1789
    Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet)Adélaïde Labille-Guiard, 1789Courtesy of The Metropolitan Museum of Art
  3. Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.
    MoonlightClaude-Joseph Vernet, 1772Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. A woman sitting in an upholstered chair near a vanity table touches the hair of the little girl leaning against her lap to our left, as a man leans onto the back of her chair to our right in this vertical portrait painting. The people all have pale skin, flushed cheeks, and their pale gray hair is pulled back and curled. Their pink lips curve in slight smiles, and light glinting off of much of the fabric suggests they wear satin or silk. The woman’s body is angled to our left, toward the girl, but she turns her head back to look up over her other shoulder with gray eyes. A voluminous, cream-white cloth drapes over her shoulders and lap, over a bodice covered in lilac-purple bows and ribbons. Her gold satin skirt falls around her feet. The little girl leans onto one arm on the woman’s lap as she turns to look at us with pale blue eyes. The girl’s forget-me-not-blue dress has a fitted bodice, elbow-length sleeves over white cuffs, a long, full skirt, and white ruffles along the collar. The woman holds blue flowers in the girl’s hair, and the girl’s forearm wraps around a bundle of pink and red flowers in the woman’s lap. The chair is upholstered in teal blue and has a gold frame and a row of gold nail heads along the padded back and arm. The man leans one forearm against the back of the chair as he looks down at the girl. In that hand, he holds a folded piece of paper with writing. He wears a loose jacket decorated with gold pagodas, pink and yellow flowers, and spruce-green leaves against a brown background. Foamy white lace falls back from his cuffs and hangs down from the high white collar of his undershirt. He wears brick-red, knee-length britches, white stockings, and black shoes with silver buckles. His other hand is planted against his hip, and one ankle is crossed in front of the other. A vanity draped with a white cloth sits on the far side of the woman and girl, along the left edge of the painting. It holds gold and glass vessels and boxes, and a rounded mirror at the back is draped with dark pink cloth. The lower half of a window behind the vanity is covered by a white cloth, and the panes continue beyond the top of the canvas. A teal-blue curtain hangs along the right edge of the window, at the corner of the room. A clock with a gold case of swirling, carved designs hangs high on the peanut-brown wall behind the man. On the floor near the chair, blue and white striped tissue paper, a rose-pink ribbon, and a strand of pearls drape over the edges of an open box. Writing along the front edge of the lid of the box reads, “Fs. Drouais. Ce 1 avril. 1756.” A pink rose lies near the girl’s feet, to our left.
    Family PortraitFrançois Hubert Drouais, 1756Courtesy National Gallery of Art, Washington
  2. This oval painting depicts a cherubic child in a garden setting. The child is standing with one foot in front of the other and has small wings on their back. The child has light skin, curly blond hair, rosy cheeks, and a playful expression. They are mostly nude, except for a cloth that wraps around their back and covers their groin. The child is holding a golden arrow. They are standing in front of a light green bush with pink flowers. In the bottom left, there is a dark blue object in the green grass that looks like a torch or cylindrical quiver. The setting includes lush greenery and more clusters of pink and white flowers. The background features a pastel blue sky with soft pink clouds and two white doves flying above.
    Love the SentinelJean Honoré Fragonard, c. 1773/1776Courtesy National Gallery of Art, Washington
  3. Germain-Augustin and Rose de Saint-Aubin, Drawn by Their Uncle, by Gabriel de Saint-Aubin, 1766
    Germain-Augustin and Rose de Saint-Aubin, Drawn by Their UncleGabriel de Saint-Aubin, 1766Courtesy of The Metropolitan Museum of Art

Section 3, north wall

  1. A work made of oil on canvas.
    Alexander at the Tomb of Cyrus the GreatPierre Henri de Valenciennes, 1796Courtesy of the Art Institute of Chicago
  2. 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

Section 3, south wall

  1. Twenty-one men in long waistcoats and women in elegantly trimmed gowns gather and dance within a verdant landscape in this horizontal painting. The men wear jackets and breeches in ginger brown, pale pink, or spruce blue. The women’s gowns have full sleeves, tight-fitting bodices, and full skirts in shades of bronze, teal blue, butterscotch gold, or rich pink edged with ribbons and lace. Some of them wear floral wreaths or ribbons in their upswept hair. Groups gather around a woman and man who dance together to our left in the scene. Some in the group of onlookers to our left hold musical instruments, including a violin and a pipe. Another group is nestled among trees just beyond the dancers, at the center of the painting, and more sit and stand to our right. The dancing woman wears a gleaming, ice-blue gown with rows of flowers in muted pink, blue, and gold down the full skirt and around the bottom hem, which falls short of her thin ankles. More garlands cross her chest and shoulders, and flowers are tucked into her dark gray hair. She faces us with her head turned to our right as she looks off in that direction with dark eyes under curving brows. She has a delicate nose, rosy, round cheeks, and pink lips. She holds her arms spread wide with the thumb touching the index finger of each hand. The man with whom she dances wears a coral-red tunic and breeches with sleeves decorated with pale pink and blue ribbons. The brim of his brown hat is turned up. His body faces us but he turns his head to look at the woman, his lips parted. The man and woman each have one gracefully pointed foot raised. The dancers and groups are enclosed within a park-like setting with tall trees to either side, and a screen of trees across the back of the space. The trees have slender trunks and canopies in shades of pine, sage, and moss green. Near the back middle of the scene, a stone column topped by a human head wearing a wreath of laurel leaves rises above the central group. A fountain with a vertical jet of water is tucked into the shadows within a grove of trees along the right edge of the painting. The water falls into a pool in the lower right corner.
    La Camargo DancingNicolas Lancret, c. 1730Courtesy National Gallery of Art, Washington
  2. Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848), by Elisabeth Louise Vigée Le Brun, 1789
    Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848)Elisabeth Louise Vigée Le Brun, 1789Courtesy of The Metropolitan Museum of Art