Floor plan

Style galleriesThe French eighteenth century

The French eighteenth century

The image shows a sketch of an architectural scene with structures lining a road or pathway. The horizon is not clearly defined, and the sketch focuses on architectural details. The drawing features loose, freehand lines outlining buildings and trees, with classical elements like columns and entablatures. The color palette is monochromatic, with light parchment and dark ink strokes creating contrast. Close-up details are lightly shaded for depth, while distant details are less defined. The composition is open and airy, emphasizing architectural features over precision.
A work made of red chalk, with stumping, on tan laid paper.
A work made of oil on canvas.
The Toilette of Venus, by François Boucher, 1751
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.
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.
Portrait of Cardinal Guillaume Dubois, by Hyacinthe Rigaud, 1723

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. The image shows a sketch of an architectural scene with structures lining a road or pathway. The horizon is not clearly defined, and the sketch focuses on architectural details. The drawing features loose, freehand lines outlining buildings and trees, with classical elements like columns and entablatures. The color palette is monochromatic, with light parchment and dark ink strokes creating contrast. Close-up details are lightly shaded for depth, while distant details are less defined. The composition is open and airy, emphasizing architectural features over precision.
    Ancient Ruins on the Bank of the TiberAugustin Pajou, 1752/1756Courtesy National Gallery of Art, Washington
  2. A work made of red chalk, with stumping, on tan laid paper.
    Seated Male NudeFrançois Le Moyne, n.d.Courtesy of the Art Institute of Chicago
  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
  4. 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. 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
  2. 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
  3. Portrait of Cardinal Guillaume Dubois, by Hyacinthe Rigaud, 1723
    Portrait of Cardinal Guillaume DuboisHyacinthe Rigaud, 1723Courtesy of the Cleveland Museum of Art

Second room, south wall

  1. 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
  2. Spring, by Jean-Baptiste Pater, c. 1720–36
    SpringJean-Baptiste Pater, c. 1720–36Courtesy of the Cleveland Museum of Art
  3. A work made of black chalk, with stumping and black crayon, red and brown chalk, heightened with white chalk, on buff laid paper, laid down on cream laid paper.
    Study of a GroomJean Baptiste Greuze, c. 1760Courtesy of the Art Institute of Chicago
  4. A work made of black chalk, with white chalk, on buff laid paper, laid down on laid paper.
    Hercules Raising his Club: Study for “Hercules and Cacus”François Le Moyne, 1717Courtesy of the Art Institute of Chicago

Second room, north wall

  1. Portrait of a Woman as Diana, by Jean-Marc Nattier, 1752
    Portrait of a Woman as DianaJean-Marc Nattier, 1752Courtesy of the Cleveland Museum of Art
  2. This painting depicts a classical architectural scene with a bird and multiple individuals. It is done in the style of Jean-Baptiste Oudry. The image includes a large building with stone columns and stairs. A parrot is perched on a tree, catching attention with its colorful feathers. In the foreground, a person in classical clothing appears to be in motion. In the background, a group of people are gathered with varied expressions and gestures directed towards the person in the foreground. The architectural elements and foliage add depth and context to the scene.
    Les deux perroquets, le roi et son fils (Two Parrots, the King, and His Son)Antoine Radigues, published 1759Courtesy National Gallery of Art, Washington
  3. 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

Third room, north wall

  1. Seated Woman, by Antoine Watteau, 1716–17
    Seated WomanAntoine Watteau, 1716–17Courtesy of The Metropolitan Museum of Art
  2. Broken Eggs, by Jean Baptiste Greuze, 1756
    Broken EggsJean Baptiste Greuze, 1756Courtesy of The Metropolitan Museum of Art