Floor plan

Time and place18th-century France

18th-century France

Broken Eggs, by Jean Baptiste Greuze, 1756
A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”
Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), by Adélaïde Labille-Guiard, 1785
This painting shows a seated elderly woman from the waist up. She faces us with a neutral expression. She has a fair complexion with visible wrinkles, rosy cheeks, and pink lips. Her hair is mostly covered by a white lace cap and a black headscarf. She wears a patterned reddish-brown garment with lace around the collar and sleeves, and her hands rest on a brown fur muff. The background is a dark gray-brown color with visible brushstrokes.
Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), by Adélaïde Labille-Guiard, 1789
A work made of oil on canvas.

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. Broken Eggs, by Jean Baptiste Greuze, 1756
    Broken EggsJean Baptiste Greuze, 1756Courtesy of The Metropolitan Museum of Art
  2. A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”
    Allegory of PaintingFrançois Boucher, 1765Courtesy National Gallery of Art, Washington
  3. 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

Section 1, south wall

  1. This painting shows a seated elderly woman from the waist up. She faces us with a neutral expression. She has a fair complexion with visible wrinkles, rosy cheeks, and pink lips. Her hair is mostly covered by a white lace cap and a black headscarf. She wears a patterned reddish-brown garment with lace around the collar and sleeves, and her hands rest on a brown fur muff. The background is a dark gray-brown color with visible brushstrokes.
    Old Woman with a MuffUnrecorded French maker, second half 18th centuryCourtesy National Gallery of Art, Washington
  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. A work made of oil on canvas.
    The White TableclothJean Siméon Chardin, c. 1731–32Courtesy of the Art Institute of Chicago

Section 2, south 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 woman wearing flowing, pastel-colored robes and two, winged, child-like putti gather on a bank of clouds among musical instruments and sheet music in this horizontal painting. The people all have pale, pink-tinged skin. The woman sits to our right of center, facing our left in profile. She has straight nose, a rounded chin, and her small, pink lips are closed. Her ash-blond hair is pulled back under a yellow band. A voluminous white robe falls away over her left shoulder, to our right, to reveal a firm breast and small pink nipple. Sky-blue drapery wraps over her far arm, and deep rose-pink cloth falls across her lap and onto the clouds around her. Her legs extend to our left, her toes pointed. She leans back on her left elbow, closer to us, and points with that index finger to a lyre she props against her knee with her other hand. One chubby, nude putto reaches forward to strum the strings. The other putto hovers above, holding a ring of laurel leaves up in one hand and a flute in the other. Both putti have chubby limbs and torsos, blond curls lifted as if in a breeze, and short, ice-blue wings. Both look at the woman. In the lower left corner, a helmet with a topaz-blue feather and the gold hilt of a sword sit near the woman’s feet. Beneath the woman’s lower leg, at the bottom center of the painting, is a gold horn encircled by another wreath of laurel leaves. Two white doves with wings spread support an open book of sheet music and two pink roses tucked under the woman’s bent elbow. Fog-gray clouds billow up both sides of the scene against a pale blue sky. The clouds on which the trio gathers are parchment brown shaded with mauve pink. The outer corners of the image are white, indicating that the corners of the canvas were rounded. The artist signed and dated the painting in the lower right corner, “F Boucher 1764.”
    Allegory of MusicFrançois Boucher, 1764Courtesy National Gallery of Art, Washington
  3. 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

Section 2, north wall

  1. The Toilette of Venus, by François Boucher, 1751
    The Toilette of VenusFrançois Boucher, 1751Courtesy of The Metropolitan Museum of Art
  2. Overdoor Painting, by Pierre Rousseau, 1790s
    Overdoor PaintingPierre Rousseau, 1790sCourtesy of the Cleveland Museum of Art
  3. The painting depicts three children within an oval frame, their upper bodies visible. The central child, a young girl, is positioned with her body facing forward and her head turned slightly to the left. She has a fair complexion, with rosy cheeks, pink lips, and wide brown eyes. Her hair is gray and partially pulled back by a blue ribbon. She is dressed in a white garment with a yellow shawl draped over her shoulders. Her arms are outstretched, holding the ends of a cloth that has been pinned on her dress. Her arms and the cloth extend forward beyond the oval frame that encircles the trio, as if the frame is a window or porthole that she is reaching out of. On the right, a boy leans on the girl's shoulder, also facing to the left, seen in profile. He has light brown, curly hair and a fair complexion. He wears a dark blue-green jacket over a white collar, and he is looking upward towards the third child. On the left, another boy, who also has light skin and light brown curly hair, appears to stand on a chair above the other two children. He is holding a long yellow straw up to his lips. At the other end of the straw, a large bubble hangs over the white cloth that the girl holds out. In his other hand is a small white dish. He wears a muted brown outfit with a dark cloth wrapped around him. The background within the frame is plain gray, and the frame that surrounds the children is light gray and appears to be carved with leaf designs. Beyond the oval frame is gray.
    Soap BubblesCharles Amédée Philippe Van Loo, 1764Courtesy National Gallery of Art, Washington

Section 3, north wall

  1. This is a drawing of anthropomorphic butterflies engaged in a duel with fencing swords. The butterflies have human-like bodies with wings resembling cloaks or capes. They stand on an ornate structure featuring decorative architectural elements like columns with floral and leaf motifs. Above them are arches, canopies, and hanging vines, creating a theatrical setting. The drawing combines fantasy and nature elements, showcasing elegance and imagination.
    Le Duel (The Duel)Charles Germain de Saint-Aubin, in or after 1756Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Mount Athos Carved as a Monument to Alexander the GreatPierre Henri de Valenciennes, 1796Courtesy of the Art Institute of Chicago
  3. 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
  4. 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