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Laurent de La Live de Jully","artist",{"_42":323,"_221":324,"_325":326,"_327":328,"_329":330,"_331":332,"_333":334,"_335":336,"_337":338,"_140":99},"unrecorded","date","probably 1759","century",18,"place","france","movement","french-eighteenth-century","painting","classification","Painting","medium","oil on canvas","dimensions","overall: 117 x 88.5 cm (46 1/16 x 34 13/16 in.) framed: 161.9 x 121.9 cm (63 3/4 x 48 in.)","width_cm",88.5,"height_cm",117,"aspect",0.757568359375,"palette",[306,307,308,309,310],"museum",{"_220":301,"_221":302,"_42":303,"_304":305},"credit","Courtesy National Gallery of Art, Washington","accession","1946.7.8","licence","CC0","story","Jean Baptiste Greuze painted this (probably 1759), aged 34. It is now at the National Gallery of Art in Washington, DC.","note","The collector Ange Laurent de La Live de Jully sits at his harp in a loose white shirt and rose-pink breeches, turning from the strings to smile at us, in a room furnished with a gilded chair and a table of books, portfolios and a statuette.","A pale-skinned man sits facing our left as he plays a harp while turning his face to smile at us in this vertical portrait painting. He looks out the corners of his light blue eyes under arched, gray brows. He has a rounded nose, pale pink lips, and a round face. Gray hair is brushed back from his high forehead and curls around his ears. His long fingers rest on the strings of the harp, and the ends of strings curl like wind-loosened strands of hair along the top edge. The man wears a pale mauve-purple cravat, and his snow-white, long-sleeved chemise is untucked and loose around his thighs. The cuff we see is open and folded back over a bright white shirt edged with lace. His dusky rose-pink breeches are unbuttoned at the knee over white stockings. The square-seated chair on which he sits is carved with garlands and floral patterns, which are gilded gold. The seat itself is topaz blue, and it has a low back. A similarly ornamented and gilded table along the back of the room holds a portfolio and roll of papers, the tooled and gilded spines of books, and a statuette to the right. The pale pinkish-orange statuette shows a woman holding a tablet and wearing a long, loose robe and head covering. Her body angles to our left and she looks off in that direction. The wall behind the table is mottled with smoky shades of gray and tan.","images",{"_295":296,"_297":298,"_299":300},"download_url","https://img.ochreeditions.com/m/1480.jpg?dl=1","page_url","/art/ange-laurent-de-la-live-de-jully-nga-32686","walk_url","/galleries/style/french-eighteenth-century/ange-laurent-de-la-live-de-jully-nga-32686","frame",{"_291":292,"_293":294},{"_224":283,"_125":284,"_285":286},"size",{"_276":277,"_278":279,"_280":281,"_282":245},"w",103.635498046875,"h",132,"image_w",88.635498046875,"image_h",{"_287":224,"_123":170,"_154":169,"_140":99},{"_287":125,"_123":288,"_154":289,"_140":290},"era",{"_287":285,"_123":166,"_154":165,"_140":168},"facet","style/painting-18","More paintings of the 18th century",168,"moulding","natural","mount","ivory","480","https://img.ochreeditions.com/a/1480/480.jpg","960","https://img.ochreeditions.com/a/1480/960.jpg","1920","https://img.ochreeditions.com/a/1480/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","city","Washington, DC",{"_311":321,"_313":322},{"_311":319,"_313":320},{"_311":317,"_313":318},{"_311":315,"_313":316},{"_311":312,"_313":314},"hex","#b7b2af","weight",0.1217,"#8e807a",0.126,"#605045",0.1738,"#5a341a",0.182,"#382a20",0.3965,"Jean Baptiste Greuze","jean-baptiste-greuze","bio","French, 1725–1805","nationality","French","birth_year",1725,"death_year",1805,"birth_place","Tournus","death_place","Paris","about_excerpt","Greuze rose to fame at the Paris Salon in the later 1750s with moralising scenes of family life, sentimental and theatrical, which the critic Denis Diderot championed. Broken Eggs, shown at the Salon of 1757, tells a story of lost innocence through a single domestic incident.","spring-cma-128877","Spring",{"_42":394,"_221":395,"_325":396,"_327":328,"_329":397,"_331":398,"_333":-5,"_335":-5,"_337":-5,"_140":103},"c. 1720–36","Framed: 76.5 x 66 x 9 cm (30 1/8 x 26 x 3 9/16 in.); Unframed: 65 x 53.7 cm (25 9/16 x 21 1/8 in.)",53.7,65,0.7485294117647059,[379,380,381,382,383],{"_220":375,"_221":376,"_42":377,"_304":378},"Courtesy of the Cleveland Museum of Art","1951.486","Jean-Baptiste Pater painted this in about 1720–36, aged about 20. It is now at the Cleveland Museum of Art.",{"_118":372,"_373":374},"Spring, by Jean-Baptiste Pater, c. 1720–36",{"_295":369,"_297":370,"_299":371},"https://img.ochreeditions.com/m/594.jpg?dl=1","/art/spring-cma-128877","/galleries/style/french-eighteenth-century/spring-cma-128877",{"_291":292,"_293":294},{"_224":364,"_125":365,"_285":366},{"_276":361,"_278":362,"_280":363,"_282":345},63.654411764705884,80,48.654411764705884,{"_287":224,"_123":367,"_154":368,"_140":89},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-jean-baptiste-pater","Jean-Baptiste Pater's contemporaries","https://img.ochreeditions.com/a/594/480.jpg","https://img.ochreeditions.com/a/594/960.jpg","https://img.ochreeditions.com/a/594/1920.jpg","Spring and Summer are two scenes from a four-season series. These landscapes were originally a part of a screen or a decorative panel, indicated by their floral borders and oval shape.","source","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_311":392,"_313":393},{"_311":390,"_313":391},{"_311":388,"_313":389},{"_311":386,"_313":387},{"_311":384,"_313":385},"#464026",0.0573,"#9a966d",0.0785,"#7f754d",0.1458,"#605a35",0.2327,"#010100",0.4857,"Jean-Baptiste Pater","jean-baptiste-pater","French, 1695–1736",1695,1736,"the-young-draftsman-aic-264161","The Young Draftsman",{"_42":459,"_221":460,"_325":461,"_327":328,"_329":462,"_331":463,"_333":-5,"_335":-5,"_337":-5,"_140":103},"1750/70","print","Print","Crayon manner engraving in red and black on cream laid paper","Plate/sheet: 21 × 155.6 cm (8 5/16 × 61 5/16 in.)",155,21,0.7382341984353658,[444,445,446,447,448],{"_220":440,"_221":441,"_42":442,"_304":443},"Courtesy of the Art Institute of Chicago","2022.156","Gilles Demarteau made this in 1750/70, aged about 21. It is now at the Art Institute of Chicago.","A work made of crayon manner engraving in red and black on cream laid paper.",{"_295":437,"_297":438,"_299":439},"https://img.ochreeditions.com/m/419.jpg?dl=1","/art/the-young-draftsman-aic-264161","/galleries/style/french-eighteenth-century/the-young-draftsman-aic-264161",{"_291":435,"_293":436},{"_224":427,"_125":428,"_285":429},{"_276":423,"_278":424,"_280":425,"_282":426},73.01991754284288,90.40158048318145,49.01991754284288,66.40158048318145,{"_287":224,"_123":433,"_154":434,"_140":89},{"_287":125,"_123":430,"_154":431,"_140":432},{"_287":285,"_123":166,"_154":165,"_140":168},"style/print-18","More prints of the 18th century",129,"artist/contemporaries-of-gilles-demarteau","Gilles Demarteau's contemporaries","black","snow","https://img.ochreeditions.com/a/419/480.jpg","https://img.ochreeditions.com/a/419/960.jpg","https://img.ochreeditions.com/a/419/1920.jpg","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_311":457,"_313":458},{"_311":455,"_313":456},{"_311":453,"_313":454},{"_311":451,"_313":452},{"_311":449,"_313":450},"#9f968e",0.0731,"#776054",0.138,"#947664",0.2566,"#c39b82",0.258,"#ad8771",0.2743,"Gilles Demarteau","gilles-demarteau","French, 1729–1776",1729,1776,"cupids-in-conspiracy-cma-125950","Cupids in Conspiracy",{"_42":512,"_221":513,"_325":514,"_327":328,"_329":515,"_331":516,"_333":336,"_335":336,"_337":517,"_140":93},"1740s","Framed: 77.5 x 131.5 x 6 cm (30 1/2 x 51 3/4 x 2 3/8 in.); Unframed: 68.8 x 123.2 cm (27 1/16 x 48 1/2 in.)",123.2,68.8,1.812366737739872,[497,498,499,500,501],{"_220":375,"_221":376,"_42":377,"_304":378},"1948.181.2","François Boucher painted this in the 1740s, aged about 37. It is now at the Cleveland Museum of Art.",{"_118":496,"_373":374},"Cupids in Conspiracy, by François Boucher, 1740s",{"_295":493,"_297":494,"_299":495},"https://img.ochreeditions.com/m/580.jpg?dl=1","/art/cupids-in-conspiracy-cma-125950","/galleries/style/french-eighteenth-century/cupids-in-conspiracy-cma-125950",{"_291":292,"_293":294},{"_224":488,"_125":489,"_285":490},{"_276":485,"_278":486,"_280":469,"_282":487},138.2,82.97741176470589,67.97741176470589,{"_287":224,"_123":491,"_154":492,"_140":93},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/francois-boucher","More by François Boucher","https://img.ochreeditions.com/a/580/480.jpg","https://img.ochreeditions.com/a/580/960.jpg","https://img.ochreeditions.com/a/580/1920.jpg","Along with Music and Dance (1948.181.1), this work is surely part of a series of over-door paintings that would have been installed in a house. However, where the panels were originally installed or who commissioned them remains unknown.",{"_311":510,"_313":511},{"_311":508,"_313":509},{"_311":506,"_313":507},{"_311":504,"_313":505},{"_311":502,"_313":503},"#9da69e",0.1549,"#9c7e66",0.1665,"#706f5f",0.1839,"#39392e",0.2063,"#594f3f",0.2884,"François Boucher","francois-boucher","French, 1703–1770",1703,1770,"Boucher trained with François Lemoyne, won the Prix de Rome and spent several years in Italy before rising to become First Painter to Louis XV. Madame de Pompadour was his most important patron.","family-portrait-nga-32682","Family Portrait",{"_42":565,"_221":566,"_325":567,"_327":328,"_329":568,"_331":569,"_333":-5,"_335":-5,"_337":-5,"_140":101},"1756","overall: 244 x 195 cm (96 1/16 x 76 3/4 in.) framed: 281.9 x 224.8 x 21 cm (111 x 88 1/2 x 8 1/4 in.)",195,244,0.79248046875,[550,551,552,553,554],{"_220":301,"_221":302,"_42":303,"_304":305},"1946.7.4","François Hubert Drouais painted this in 1756, aged 29. It is now at the National Gallery of Art in Washington, DC.","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.",{"_295":547,"_297":548,"_299":549},"https://img.ochreeditions.com/m/1478.jpg?dl=1","/art/family-portrait-nga-32682","/galleries/style/french-eighteenth-century/family-portrait-nga-32682",{"_291":292,"_293":294},{"_224":542,"_125":543,"_285":544},{"_276":538,"_278":539,"_280":540,"_282":541},205.1953125,255,190.1953125,240,{"_287":224,"_123":545,"_154":546,"_140":89},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-francois-hubert-drouais","François Hubert Drouais's contemporaries","https://img.ochreeditions.com/a/1478/480.jpg","https://img.ochreeditions.com/a/1478/960.jpg","https://img.ochreeditions.com/a/1478/1920.jpg",{"_311":563,"_313":564},{"_311":561,"_313":562},{"_311":559,"_313":560},{"_311":557,"_313":558},{"_311":555,"_313":556},"#5c6e6e",0.0846,"#1f342f",0.132,"#a09685",0.1513,"#261a12",0.2653,"#4d3c29",0.3668,"François Hubert Drouais","francois-hubert-drouais","French, 1727–1775",1727,1775,"la-camargo-dancing-nga-96","La Camargo Dancing",{"_42":616,"_221":617,"_325":618,"_327":328,"_329":619,"_331":620,"_333":-5,"_335":-5,"_337":-5,"_140":103},"c. 1730","overall: 76.2 x 106.7 cm (30 x 42 in.) framed: 107.3 x 135.9 x 9.2 cm (42 1/4 x 53 1/2 x 3 5/8 in.)",106.7,76.2,1.4003418803418803,[601,602,603,604,605],{"_220":301,"_221":302,"_42":303,"_304":305},"1937.1.89","Nicolas Lancret painted this in about 1730, aged 40. It is now at the National Gallery of Art in Washington, DC.","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.",{"_295":598,"_297":599,"_299":600},"https://img.ochreeditions.com/m/1308.jpg?dl=1","/art/la-camargo-dancing-nga-96","/galleries/style/french-eighteenth-century/la-camargo-dancing-nga-96",{"_291":292,"_293":294},{"_224":593,"_125":594,"_285":595},{"_276":590,"_278":591,"_280":575,"_282":592},121.7,91.1956787109375,76.1956787109375,{"_287":224,"_123":596,"_154":597,"_140":89},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-nicolas-lancret","Nicolas Lancret's contemporaries","https://img.ochreeditions.com/a/1308/480.jpg","https://img.ochreeditions.com/a/1308/960.jpg","https://img.ochreeditions.com/a/1308/1920.jpg",{"_311":614,"_313":615},{"_311":612,"_313":613},{"_311":610,"_313":611},{"_311":608,"_313":609},{"_311":606,"_313":607},"#a6a482",0.1135,"#7d775a",0.1375,"#4e3c22",0.1698,"#525035",0.1934,"#2d291a",0.3858,"Nicolas Lancret","nicolas-lancret","French, 1690–1743",1690,1743,"appenine-landscape-aic-250456","Appenine Landscape",{"_42":667,"_221":668,"_325":669,"_327":328,"_329":670,"_331":671,"_333":-5,"_335":-5,"_337":-5,"_140":99},"Oil on canvas","76 × 72 cm (29 15/16 × 28 3/8 in.); Framed: 97.8 × 94 × 10.2 cm (38 1/2 × 37 × 4 in.)",72,76,0.9436392914653784,[652,653,654,655,656],{"_220":440,"_221":441,"_42":442,"_304":443},"2019.192","François Le Moyne painted this in about 1730, aged about 37. It is now at the Art Institute of Chicago.","A work made of oil on canvas.",{"_295":649,"_297":650,"_299":651},"https://img.ochreeditions.com/m/387.jpg?dl=1","/art/appenine-landscape-aic-250456","/galleries/style/french-eighteenth-century/appenine-landscape-aic-250456",{"_291":292,"_293":294},{"_224":644,"_125":645,"_285":646},{"_276":641,"_278":642,"_280":643,"_282":627},86.71658615136876,91,71.71658615136876,{"_287":224,"_123":647,"_154":648,"_140":99},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/francois-le-moyne","More by François Le Moyne","https://img.ochreeditions.com/a/387/480.jpg","https://img.ochreeditions.com/a/387/960.jpg","https://img.ochreeditions.com/a/387/1920.jpg",{"_311":665,"_313":666},{"_311":663,"_313":664},{"_311":661,"_313":662},{"_311":659,"_313":660},{"_311":657,"_313":658},"#8d8e7f",0.0995,"#6f593e",0.1419,"#4d3b27",0.2367,"#34291c",0.2586,"#89806e",0.2633,"François Le Moyne","francois-le-moyne","French, 1688–1737",1688,1737,"le-lion-the-lion-nga-55520","Le lion (The Lion)",{"_42":717,"_221":718,"_325":719,"_327":328,"_329":720,"_331":721,"_333":-5,"_335":-5,"_337":-5,"_140":103},"published 1759","hand-colored etching",0.7333984375,[702,703,704,705,706],{"_220":301,"_221":302,"_42":303,"_304":305},"1975.81.11","A.-J. de Fehrt made this (published 1759), aged 36. It is now at the National Gallery of Art in Washington, DC.","This is a drawing of a lion in a forested rocky landscape. The lion is seen standing over a defeated animal. In the background, a forest with dense trees frames the scene. One monkey is visible among the rocks watching the lion. The setting conveys a wild, rugged terrain with rocky formations and scattered vegetation. Light and shadow emphasize textures in the lion's mane and the surrounding rocks. The composition focuses on the lion and its prey.",{"_295":699,"_297":700,"_299":701},"https://img.ochreeditions.com/m/1575.jpg?dl=1","/art/le-lion-the-lion-nga-55520","/galleries/style/french-eighteenth-century/le-lion-the-lion-nga-55520",{"_291":435,"_293":436},{"_224":694,"_125":695,"_285":696},{"_276":690,"_278":691,"_280":692,"_282":693},68.00390625,84,44.00390625,60,{"_287":224,"_123":697,"_154":698,"_140":89},{"_287":125,"_123":430,"_154":431,"_140":432},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-a-j-de-fehrt","A.-J. de Fehrt's contemporaries","https://img.ochreeditions.com/a/1575/480.jpg","https://img.ochreeditions.com/a/1575/960.jpg","https://img.ochreeditions.com/a/1575/1920.jpg",{"_311":715,"_313":716},{"_311":713,"_313":714},{"_311":711,"_313":712},{"_311":709,"_313":710},{"_311":707,"_313":708},"#e3d2b1",0.1356,"#6a6151",0.1689,"#d6ac6e",0.1809,"#aa9d7a",0.2254,"#857e63",0.2892,"A.-J. de Fehrt","a-j-de-fehrt","French, 1723–1774",1723,1774,"le-roi-le-milan-et-le-chasseur-the-king-the-kite-and-the-hun-nga-55536","Le roi, le milan, et le chasseur (The King, the Kite, and the Hunter)",{"_42":763,"_221":764,"_325":765,"_327":328,"_329":766,"_331":767,"_333":-5,"_335":-5,"_337":-5,"_140":103},0.736328125,[748,749,750,751,752],{"_220":301,"_221":302,"_42":303,"_304":305},"1975.81.27","Benoît-Louis Prévost made this (published 1759), aged 24. It is now at the National Gallery of Art in Washington, DC.","This is a painting of a king, a hawk, and a hunter in a classical architectural setting with columns and arches. In the image, a figure in royal clothing is seated beneath draped red fabric, facing a man in hunting attire holding a bird. A hawk perches on the royal figure's head, wings spread, while the hunter reaches toward the hawk. Surrounding them are other figures in armor, holding spears and shields. The style is reminiscent of classic European paintings with themes of mythology or allegory.",{"_295":745,"_297":746,"_299":747},"https://img.ochreeditions.com/m/1578.jpg?dl=1","/art/le-roi-le-milan-et-le-chasseur-the-king-the-kite-and-the-hun-nga-55536","/galleries/style/french-eighteenth-century/le-roi-le-milan-et-le-chasseur-the-king-the-kite-and-the-hun-nga-55536",{"_291":435,"_293":436},{"_224":740,"_125":741,"_285":742},{"_276":738,"_278":691,"_280":739,"_282":693},68.1796875,44.1796875,{"_287":224,"_123":743,"_154":744,"_140":89},{"_287":125,"_123":430,"_154":431,"_140":432},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-benoit-louis-prevost","Benoît-Louis Prévost's contemporaries","https://img.ochreeditions.com/a/1578/480.jpg","https://img.ochreeditions.com/a/1578/960.jpg","https://img.ochreeditions.com/a/1578/1920.jpg",{"_311":761,"_313":762},{"_311":759,"_313":760},{"_311":757,"_313":758},{"_311":755,"_313":756},{"_311":753,"_313":754},"#dacaae",0.141,"#7a524a",0.1453,"#685d4e",0.1483,"#93866e",0.2816,"#c3a774",0.2838,"Benoît-Louis Prévost","benoit-louis-prevost","French, c. 1735–1804",1735,1804,"seated-woman-met-459192","Seated Woman",{"_42":826,"_221":827,"_325":828,"_327":328,"_329":829,"_331":830,"_333":831,"_335":832,"_337":833,"_140":97},"1716–17","drawing","Drawings","Black, red and white chalk","9 7/16 x 5 7/16 in. (24 x 13.8 cm)",13.8,24,0.6601138127263321,[811,812,813,814,815],{"_220":807,"_221":808,"_42":809,"_304":810},"Courtesy of The Metropolitan Museum of Art","1975.1.763","Antoine Watteau drew this in 1716–17, aged about 32. It is now at The Met in New York.","Seated Woman, by Antoine Watteau, 1716–17",{"_295":804,"_297":805,"_299":806},"https://img.ochreeditions.com/m/1270.jpg?dl=1","/art/seated-woman-met-459192","/galleries/style/french-eighteenth-century/seated-woman-met-459192",{"_291":435,"_293":436},{"_224":796,"_125":797,"_285":798},{"_276":792,"_278":793,"_280":794,"_282":795},40.5028453181583,49,16.5028453181583,25,{"_287":224,"_123":802,"_154":803,"_140":97},{"_287":125,"_123":799,"_154":800,"_140":801},{"_287":285,"_123":166,"_154":165,"_140":168},"style/drawing-18","More drawings of the 18th century",31,"artist/antoine-watteau","More by Antoine Watteau","https://img.ochreeditions.com/a/1270/480.jpg","https://img.ochreeditions.com/a/1270/960.jpg","https://img.ochreeditions.com/a/1270/1920.jpg","met","the-met","The Metropolitan Museum of Art","New York",{"_311":824,"_313":825},{"_311":822,"_313":823},{"_311":820,"_313":821},{"_311":818,"_313":819},{"_311":816,"_313":817},"#cfcbbd",0.0551,"#c0a06b",0.1079,"#c4ab91",0.1815,"#9b8e72",0.2582,"#c19a78",0.3973,"Antoine Watteau","antoine-watteau","French, 1684–1721",1684,1721,"Valenciennes","Nogent-sur-Marne","Watteau came to Paris from Valenciennes, worked with the theatre painter Claude Gillot and the decorator Claude Audran, and studied Rubens’s Medici cycle at the Luxembourg Palace.","portrait-of-a-woman-as-diana-cma-122347","Portrait of a Woman as Diana",{"_42":882,"_221":883,"_325":884,"_327":328,"_329":885,"_331":886,"_333":-5,"_335":-5,"_337":-5,"_140":101},"1752","Framed: 127.5 x 107.5 x 10 cm (50 3/16 x 42 5/16 x 3 15/16 in.); Unframed: 100.4 x 79.5 cm (39 1/2 x 31 5/16 in.)",79.5,100.4,0.805,[867,868,869,870,871],{"_220":375,"_221":376,"_42":377,"_304":378},"1942.643","Jean-Marc Nattier painted this in 1752, aged 67. It is now at the Cleveland Museum of Art.",{"_118":866,"_373":374},"Portrait of a Woman as Diana, by Jean-Marc Nattier, 1752",{"_295":863,"_297":864,"_299":865},"https://img.ochreeditions.com/m/555.jpg?dl=1","/art/portrait-of-a-woman-as-diana-cma-122347","/galleries/style/french-eighteenth-century/portrait-of-a-woman-as-diana-cma-122347",{"_291":292,"_293":294},{"_224":858,"_125":859,"_285":860},{"_276":855,"_278":856,"_280":857,"_282":840},95.822,115.4,80.822,{"_287":224,"_123":861,"_154":862,"_140":89},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-jean-marc-nattier","Jean-Marc Nattier's contemporaries","https://img.ochreeditions.com/a/555/480.jpg","https://img.ochreeditions.com/a/555/960.jpg","https://img.ochreeditions.com/a/555/1920.jpg","For many years, this sitter was identified as Madame de Pompadour, but she bears little resemblance to this pivotal figure in French art and politics of the mid 1700s.",{"_311":880,"_313":881},{"_311":878,"_313":879},{"_311":876,"_313":877},{"_311":874,"_313":875},{"_311":872,"_313":873},"#a79d8d",0.0705,"#776f5f",0.1057,"#514e3f",0.2206,"#262217",0.296,"#3c3c30",0.3072,"Jean-Marc Nattier","jean-marc-nattier","French, 1685–1766",1685,1766,"lion-s-head-from-the-capitoline-staircase-nga-110205","Lion's Head from the Capitoline Staircase",{"_42":933,"_221":934,"_325":935,"_327":328,"_329":936,"_331":937,"_333":-5,"_335":-5,"_337":-5,"_140":101},"1752/1756","Drawing","black chalk on laid paper","overall: 18 x 12.3 cm (7 1/16 x 4 13/16 in.)",12.3,0.688232421875,[918,919,920,921,922],{"_220":301,"_221":302,"_42":303,"_304":305},"1999.75.5.a","Augustin Pajou drew this in 1752/1756, aged about 22. It is now at the National Gallery of Art in Washington, DC.","This is a detailed sketch of a lion's head, positioned to show its profile. The drawing features the lion's broad nose, rounded mouth, large eye, and flowing mane. The facial features are depicted with various curves and lines. The sketch is on textured paper with pencil shading creating variations in the background. Handwritten text at the bottom reads \"Leone de l'Escalier du capitol.\"",{"_295":915,"_297":916,"_299":917},"https://img.ochreeditions.com/m/1646.jpg?dl=1","/art/lion-s-head-from-the-capitoline-staircase-nga-110205","/galleries/style/french-eighteenth-century/lion-s-head-from-the-capitoline-staircase-nga-110205",{"_291":435,"_293":436},{"_224":910,"_125":911,"_285":912},{"_276":908,"_278":793,"_280":909,"_282":795},41.205810546875,17.205810546875,{"_287":224,"_123":913,"_154":914,"_140":89},{"_287":125,"_123":799,"_154":800,"_140":801},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-augustin-pajou","Augustin Pajou's contemporaries","https://img.ochreeditions.com/a/1646/480.jpg","https://img.ochreeditions.com/a/1646/960.jpg","https://img.ochreeditions.com/a/1646/1920.jpg",{"_311":931,"_313":932},{"_311":929,"_313":930},{"_311":927,"_313":928},{"_311":925,"_313":926},{"_311":923,"_313":924},"#b4b0a3",0.0632,"#d1c3a9",0.0824,"#c6c1b4",0.1484,"#d3cec0",0.2859,"#ded8c8",0.4201,"Augustin Pajou","augustin-pajou","French, 1730–1809",1730,1809,"le-chat-la-balette-et-le-petit-lapin-the-cat-the-weasel-and-nga-55527","Le chat, la balette et le petit lapin (The Cat, the Weasel, and the Rabbit)",{"_42":980,"_221":981,"_325":982,"_327":328,"_329":983,"_331":984,"_333":-5,"_335":-5,"_337":-5,"_140":103},"published 1756",0.7255859375,[965,966,967,968,969],{"_220":301,"_221":302,"_42":303,"_304":305},"1975.81.18","Martin Marvie made this (published 1756), aged 43. It is now at the National Gallery of Art in Washington, DC.","This is a painting of animals in front of a ruined structure. The painting features a cat, a weasel, and a small rabbit gathered on a patch of grass. The cat has its paw over the rabbit, with the weasel observing. They are in front of an ancient stone structure surrounded by vegetation. In the background are trees against a sky. The foreground has detailed foliage and flowers.",{"_295":962,"_297":963,"_299":964},"https://img.ochreeditions.com/m/1577.jpg?dl=1","/art/le-chat-la-balette-et-le-petit-lapin-the-cat-the-weasel-and-nga-55527","/galleries/style/french-eighteenth-century/le-chat-la-balette-et-le-petit-lapin-the-cat-the-weasel-and-nga-55527",{"_291":435,"_293":436},{"_224":957,"_125":958,"_285":959},{"_276":955,"_278":691,"_280":956,"_282":693},67.53515625,43.53515625,{"_287":224,"_123":960,"_154":961,"_140":89},{"_287":125,"_123":430,"_154":431,"_140":432},{"_287":285,"_123":166,"_154":165,"_140":168},"artist/contemporaries-of-martin-marvie","Martin Marvie's contemporaries","https://img.ochreeditions.com/a/1577/480.jpg","https://img.ochreeditions.com/a/1577/960.jpg","https://img.ochreeditions.com/a/1577/1920.jpg",{"_311":978,"_313":979},{"_311":976,"_313":977},{"_311":974,"_313":975},{"_311":972,"_313":973},{"_311":970,"_313":971},"#615a4d",0.1365,"#cdae7b",0.1841,"#837a63",0.2116,"#d5c9ab",0.2245,"#a79b7c",0.2433,"Martin Marvie","martin-marvie","French, 1713–1813",1713,1813,"study-of-a-shepherd-cma-149290","Study of a Shepherd","Unrecorded French maker","1700s",17,"oil on paper, mounted on board","Framed: 64 x 52.5 x 4.5 cm (25 3/16 x 20 11/16 x 1 3/4 in.); Unframed: 54 x 42.5 cm (21 1/4 x 16 3/4 in.)",42.5,54,0.7844117647058824,[1025,1026,1027,1028,1029],{"_220":375,"_221":376,"_42":377,"_304":378},"1978.125","An unrecorded France artist painted this in the 1700s. It is now at the Cleveland Museum of Art.",{"_118":1024,"_373":374},"Study of a Shepherd, 1700s",{"_295":1021,"_297":1022,"_299":1023},"https://img.ochreeditions.com/m/705.jpg?dl=1","/art/study-of-a-shepherd-cma-149290","/galleries/style/french-eighteenth-century/study-of-a-shepherd-cma-149290",{"_291":292,"_293":294},{"_224":1011,"_125":1012,"_285":1013},{"_276":1008,"_278":1009,"_280":1010,"_282":993},57.35823529411765,69,42.35823529411765,{"_287":224,"_123":1019,"_154":1020,"_140":87},{"_287":125,"_123":1017,"_154":1018,"_140":290},{"_287":285,"_123":1014,"_154":1015,"_140":1016},"era/17-france","17th-century France",30,"style/painting-17","More paintings of the 17th century","artist/unrecorded-france","More by unrecorded makers of France","https://img.ochreeditions.com/a/705/480.jpg","https://img.ochreeditions.com/a/705/960.jpg","https://img.ochreeditions.com/a/705/1920.jpg","The attribution of this unsigned painting remains unsettled and may be by a French or Italian artist. Among the names proposed have been Joseph-Marie Vien the Elder and Hugues Taraval.",{"_311":1038,"_313":1039},{"_311":1036,"_313":1037},{"_311":1034,"_313":1035},{"_311":1032,"_313":1033},{"_311":1030,"_313":1031},"#a87249",0.0481,"#734325",0.0594,"#5a4127",0.1994,"#291d12",0.2919,"#422f1e",0.4012,"mezzetin-met-437926","Mezzetin",{"_42":826,"_221":827,"_325":828,"_327":328,"_329":829,"_331":830,"_333":831,"_335":832,"_337":833,"_140":97},"ca. 1718–20","Paintings","21 3/4 x 17 in. (55.2 x 43.2 cm)",43.2,55.2,0.7867494824016563,[1071,1072,1073,1074,1075],{"_220":807,"_221":808,"_42":809,"_304":810},"34.138","Antoine Watteau painted this in about 1718–20, aged about 34. It is now at The Met in New York.","Mezzetin, a stock character of the Italian comedy, sits on a garden bench and sings to his guitar, head thrown back and eyes raised, his striped costume glowing against dark foliage. Behind him a stone statue of a woman turns her back, an ironic reply to his lovesick serenade.","Mezzetin, by Antoine Watteau, ca. 1718–20",{"_295":1068,"_297":1069,"_299":1070},"https://img.ochreeditions.com/m/1176.jpg?dl=1","/art/mezzetin-met-437926","/galleries/style/french-eighteenth-century/mezzetin-met-437926",{"_291":292,"_293":294},{"_224":1065,"_125":1066,"_285":1067},{"_276":1062,"_278":1063,"_280":1064,"_282":1047},58.42857142857143,70.2,43.42857142857143,{"_287":224,"_123":802,"_154":803,"_140":97},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1176/480.jpg","https://img.ochreeditions.com/a/1176/960.jpg","https://img.ochreeditions.com/a/1176/1920.jpg",{"_311":1084,"_313":1085},{"_311":1082,"_313":1083},{"_311":1080,"_313":1081},{"_311":1078,"_313":1079},{"_311":1076,"_313":1077},"#958565",0.0844,"#765032",0.1184,"#5e5837",0.1853,"#3d3e2a",0.2978,"#342a1d",0.3141,"the-italian-comedians-nga-32687","The Italian Comedians",{"_42":826,"_221":827,"_325":828,"_327":328,"_329":829,"_331":830,"_333":831,"_335":832,"_337":833,"_140":97},"probably 1720","overall: 63.8 × 76.2 cm (25 1/8 × 30 in.) framed: 94.62 × 107 × 13.65 cm (37 1/4 × 42 1/8 × 5 3/8 in.)",63.8,1.2054149499705709,[1115,1116,1117,1118,1119],{"_220":301,"_221":302,"_42":303,"_304":305},"1946.7.9","Antoine Watteau painted this (probably 1720), aged 36. It is now at the National Gallery of Art in Washington, DC.","Pierrot, the white-clad clown of the Italian comedy, stands at the centre of a shallow stage with his arms hanging at his sides, while the troupe gathers around him as if for a curtain call: a masked Harlequin in diamond-patterned costume, a young man in red with a jester’s bauble, a lute player, a bearded old man in black cloak and skullcap, and a figure in gold who gestures towards Pierrot.","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.",{"_295":1112,"_297":1113,"_299":1114},"https://img.ochreeditions.com/m/1481.jpg?dl=1","/art/the-italian-comedians-nga-32687","/galleries/style/french-eighteenth-century/the-italian-comedians-nga-32687",{"_291":292,"_293":294},{"_224":1109,"_125":1110,"_285":1111},{"_276":1106,"_278":1107,"_280":576,"_282":1108},91.2,78.21474609375001,63.21474609375001,{"_287":224,"_123":802,"_154":803,"_140":97},{"_287":125,"_123":288,"_154":289,"_140":290},{"_287":285,"_123":166,"_154":165,"_140":168},"https://img.ochreeditions.com/a/1481/480.jpg","https://img.ochreeditions.com/a/1481/960.jpg","https://img.ochreeditions.com/a/1481/1920.jpg",{"_311":1127,"_313":1128},{"_311":1125,"_313":1126},{"_311":1124,"_313":613},{"_311":1122,"_313":1123},{"_311":1120,"_313":1121},"#d6bea3",0.0525,"#917355",0.1565,"#7e3f17","#33281b",0.2535,"#594a36",0.3441,{"_1130":-5,"_1131":1132,"_1133":1134,"_1135":8,"_1136":1137,"_1138":8},"user","csrf","88281d7cd908e0712ccbcec827a7aaccc4f720ab","cartCount",0,"dropLive","legal",[1139,1140,1141,1142,1143,1144,1145,1146,1147,1148,1149,1150],"uploadsEnabled",{"_221":1173,"_20":1174},{"_221":1171,"_20":1172},{"_221":1169,"_20":1170},{"_221":1167,"_20":1168},{"_221":1165,"_20":1166},{"_221":1163,"_20":1164},{"_221":1161,"_20":1162},{"_221":1159,"_20":1160},{"_221":1157,"_20":1158},{"_221":1155,"_20":1156},{"_221":1153,"_20":1154},{"_221":1151,"_20":1152},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]