Floor plan

Style galleriesThe French eighteenth century

The French eighteenth century

Spring, by Jean-Baptiste Pater, c. 1720–36
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.
The Toilette of Venus, by François Boucher, 1751
Portrait of Cardinal Guillaume Dubois, by Hyacinthe Rigaud, 1723
Seated Woman, by Antoine Watteau, 1716–17
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.
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.

The works in this room are listed below.

Works in this room

Fêtes, portraits and still lifes from the France of the Regency and Louis XV.

First room, north wall

  1. Spring, by Jean-Baptiste Pater, c. 1720–36
    SpringJean-Baptiste Pater, c. 1720–36Courtesy of the Cleveland 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. The Toilette of Venus, by François Boucher, 1751
    The Toilette of VenusFrançois Boucher, 1751Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. Portrait of Cardinal Guillaume Dubois, by Hyacinthe Rigaud, 1723
    Portrait of Cardinal Guillaume DuboisHyacinthe Rigaud, 1723Courtesy of the Cleveland Museum of Art
  2. Seated Woman, by Antoine Watteau, 1716–17
    Seated WomanAntoine Watteau, 1716–17Courtesy of The Metropolitan Museum of Art
  3. 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.
    Le roi, le milan, et le chasseur (The King, the Kite, and the Hunter)Benoît-Louis Prévost, published 1759Courtesy National Gallery of Art, Washington
  4. 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.
    Le lion (The Lion)A.-J. de Fehrt, published 1759Courtesy National Gallery of Art, Washington

Second room, south wall

  1. Cupids in Conspiracy, by François Boucher, 1740s
    Cupids in ConspiracyFrançois Boucher, 1740sCourtesy of the Cleveland Museum of Art
  2. Portrait of the Marquise d'Aguirandes, by François Hubert Drouais, 1759
    Portrait of the Marquise d'AguirandesFrançois Hubert Drouais, 1759Courtesy 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

Second room, north wall

  1. A work made of oil on canvas.
    The White TableclothJean Siméon Chardin, c. 1731–32Courtesy of the Art Institute of Chicago
  2. 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."
    Lion's Head from the Capitoline StaircaseAugustin Pajou, 1752/1756Courtesy National Gallery of Art, Washington
  3. 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

Third room, north wall

  1. 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.
    Ange Laurent de La Live de JullyJean Baptiste Greuze, probably 1759Courtesy National Gallery of Art, Washington
  2. 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
  3. FIGURES FROM SISTINE CHAPEL CEILING
    Figures from Sistine Chapel ceilingJean-Robert Ango, ca. 1759–70Courtesy of Cooper Hewitt, Smithsonian Design Museum