The 100 Most Famous Rococo Paintings

1717Oil on canvas129 × 194 cmThe Louvre, Paris

Jean-Antoine Watteau's "The Embarkation for Cythera" is a quintessential example of the Rococo style, capturing the playful and romantic spirit of 18th-century France. The artwork depicts a lively scene of aristocratic revelry set against a pastoral landscape. This genre celebrated the carefree and pleasure-seeking lifestyle of the French aristocracy following the death of Louis XIV.

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1767Oil on canvas81 × 64.2 cmWallace Collection, London

The Swing_ by Jean-Honoré Fragonard is an 18th-century oil painting. Following the execution of Marie-François Ménage de Pressigny by guillotine in 1794, the work was seized by the revolutionary government. In 1865, following the death of the Duc de Morny, the painting was sold at auction in Paris.

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1769Oil on canvas105 × 90 cmNational Gallery of Art, Washington

Whether placed in a sunlit library or a sophisticated study, Young Girl Reading acts as a window into a bygone era of elegance and contemplation.

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1719Oil on canvas (presumed)185 × 150 cmThe Louvre, Paris

Watteau revolutionized French painting with his invention of the fête galante – a genre depicting elegant outdoor gatherings infused with a sense of playful romance and gentle melancholy. Executed with Watteau’s signature loose brushwork and delicate color palette, “Gilles” showcases his exceptional technical skill.

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Oil on canvas

The figures’ expressive faces and gestures reveal a spectrum of reactions—from fascination and wonder to concern and empathy—drawing viewers into a narrative that explores human curiosity and the pursuit of knowledge. This painting exemplifies Joseph Wright of Derby’s signature use of chiaroscuro, a technique that emphasizes dramatic contrasts between light and dark.

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1718Oil on canvas184 × 149 cm

Despite facing rejection from established institutions like Académie Royale de peinture et de sculpture, Watteau persevered, driven by an unwavering belief in his artistic vision. Moreover, Watteau subtly incorporated symbolic elements—such as flowering trees representing fertility and renewal—enhancing the narrative depth of his canvases.

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1775Oil on canvas91 × 70 cm

This work is a significant example of the Grand Style, a method that sought to move portraiture beyond simple likeness toward a more idealized representation of character. The painting reflects the social and intellectual currents of 18th-century Britain, where the depiction of childhood began to incorporate themes of innocence and domestic tranquility.

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1740Oil on canvas66 × 61 cmNational Gallery, London

The scene exudes tenderness and focus, emphasizing the importance of nurturing relationships and the transmission of knowledge. The figures are centrally positioned, creating a harmonious interaction that draws viewers into their shared moment of concentration and trust.

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1748Oil on canvas70 × 119 cmNational Gallery, London

Painted during a period of significant economic growth and social change in 18th-century Britain, this artwork reflects the ideals of the rising landowning class. Consider pairing “Mr and Mrs Andrews” with complementary colors – muted greens, warm browns, and soft blues – to enhance its natural palette.

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Oil on canvas

Around them, a choir of heavenly beings gathers to perform. One angel rests on the left, another occupies the middle, while two more flank the right side.

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1712Oil on canvas35 × 31 cmThyssen-Bornemisza Museum, Madrid

Five figures populate the scene—a gentleman, a lady, two actors, and Pierrot himself—each positioned with careful consideration for balance and visual harmony. The painting's influence can be discerned in subsequent generations of artists who embraced Impressionism and Symbolism, prioritizing atmosphere and subjective experience over literal representation.

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1713Oil on canvasFine Arts Museums of San Francisco

“Party of Four” is deeply rooted in its historical context – the opulent yet understated leisure culture of 18th-century France. The delicate brushwork and evocative lighting in "Party of Four" can also be seen as precursors to Impressionism, foreshadowing the shift towards capturing fleeting moments and subjective experiences.

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1752Oil on canvas318 × 261 cmWallace Collection, London

The central figures are Apollo, returning to his mother Leto, and Thetis, the sea goddess. “The Setting of the Sun” was created during a period of immense artistic patronage, particularly under Madame de Pompadour, Louis XV’s influential mistress.

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1715–1717Oil on panel610 × 440 cmNationalmuseum, Stockholm

The scene is filled with life as a man plays a Spanish guitar, while one of the girls breaks off roses and strews petals over the group. The painting is housed at the Nationalmuseum in Stockholm, Sweden, and was acquired by the museum in 1953 through fundraising efforts. 610 x 440 cm Date: 1717

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1747Oil on canvas160 × 193 cmThe Louvre, Paris

As the viewer's eye wanders through the composition, one feels the palpable tension between divine will and human vulnerability. The painting breathes with the soft, blended strokes characteristic of the 18th-century French style, creating an atmosphere that feels almost ethereal.

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1744Unknown (likely pastel)82 × 52 cmGemäldegalerie, Dresden

To stand before Jean-Étienne Liotard's The Chocolate Girl is to step directly into the luminous, delicate atmosphere of mid-eighteenth-century Parisian society. This portrait captures a moment suspended in time—a tableau vivant suggesting the quiet ritual of afternoon tea or intimate social gathering.

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Oil

A man in a green coat occupies the center of this composition, his figure anchored by the weight of a hare held firmly in his hands. At his feet, four hounds wait in a state of quiet anticipation. The scene is set within a dense thicket of trees and foliage, where deep greens and earthy browns create a sense of shadowed depth.

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1738Print (etching & engraving)Cleveland Museum of Art

This remarkable work, now immortalized through WahooArt’s hand-painted reproductions, captures a moment of revelry – or perhaps reckless abandon – with an unparalleled level of detail and satirical observation that defines Hogarth's unique artistic legacy. Night” reflects the vibrant, yet turbulent, atmosphere of 18th-century London.

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1787Oil on canvas45 × 55 cmHermitage Museum, Saint Petersburg

The composition itself is a carefully orchestrated dance of light and shadow, drawing the viewer into the heart of the narrative. “The Stolen Kiss” is deeply rooted in the cultural context of 18th-century France, a period characterized by aristocratic excess, courtly intrigue, and a fascination with pleasure.

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1716Oil on canvas37 × 48 cmStaatliche Museen zu Berlin

“The French Comedy” emerged during a period of opulent extravagance in Louis XIV’s France – specifically, the reign of Versailles. The painting reflects a shift away from the formal grandeur of the Baroque toward a more intimate portrayal of aristocratic life —a fascination with pastoral landscapes and idealized figures reflecting an aspiration for harmony and tranquility.

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1742Oil on canvas89 × 98 cmNational Gallery, London

The scene unfolds within a secluded garden, a carefully constructed haven of beauty and leisure—a space deliberately removed from the bustling realities of Parisian society. At first glance, “Lady and Gentleman with Two Girls and a Servant” appears to be a straightforward depiction of a wealthy family enjoying an afternoon in their garden.

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1736OilChâteau de Versailles

The painting depicts the apotheosis – glorification – of Hercules, Roman hero revered for his strength and virtue. “The Apotheosis of Hercules” was conceived during a period of significant political and social change in France. "The Apotheosis of Hercules" overwhelms the viewer with its sheer scale and dazzling color palette —primarily warm hues of gold, crimson, and cream.

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1716Oil on canvas65 × 93 cmWallace Collection, London

The painting's composition is meticulously crafted to convey specific meanings beyond mere visual appeal. The Islington Local History Centre and Museum in London also houses various artworks from different artists.

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1777Oil on canvas73 × 93 cmThe Louvre, Paris

In the quiet, dimly lit chambers of 18th-century France, certain moments were meant to remain unseen, yet Jean-Honoré Fragonard possessed the singular ability to pull back the velvet curtain.

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1742Oil on canvas56 × 73 cm

François Boucher created Diana getting out of her bath in 1742. The work centers on the Roman goddess Diana, portrayed in a state of nudity. His 1751 works, The Bath of Venus and The Toilet of Venus, demonstrate a continued fascination with the themes of beauty and intimacy.

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1724Oil on canvas65 × 53 cmMetropolitan Museum of Art, New York

Unlike the grand, heavy narratives favored by Baroque artists—which often focused on religious allegories or mythological tales— de Troy deliberately embraced the burgeoning interest in documenting everyday life and social customs.

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1730Oil on canvas78 × 64 cm

In 1720, the oil on canvas Adoration of the Shepherds unfolds, bringing a quiet reverence to the viewer. By 1725, the narrative shifts toward the story of Rinaldo and Armidaca, also rendered in oil on canvas. A Sibyl appears in 1726, captured in oil on canvas with a distinct sense of presence.

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1740Oil on canvas49.5 × 38.5 cmThe Louvre, Paris

Considering Chardin's background as a cabinetmaker, it’s not surprising that he possessed an innate understanding of form and material, translating this knowledge into his art with remarkable sensitivity.

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Pastel

This piece functions as an etude de tête d'une jeune personne, a study of a young person's head. Maurice Quentin de La Tour focused his attention on the subtle nuances of the sitter's features. The work is held within the Musée Antoine Lécuyer de Saint-Quentin.

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1723Oil on canvas195 × 129 cm

This piece belongs to the category of 18th-century portrait paintings of children at full length, a genre that allows the viewer to witness the scale and dignity of these young figures. Every detail, from the heavy folds of the garments to the placement of the furniture, contributes to the formal atmosphere of this moment captured in 1723.

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1750Oil on canvas81 × 75 cmNational Gallery of Art, Washington

The painting captures a moment of quiet intimacy within a verdant forest setting, depicting two young women seated on the ground, lost in conversation amidst scattered sheep, creating an atmosphere of serene beauty and subtle intrigue. Boucher was a pivotal figure in establishing the Rococo style, characterized by its emphasis on ornamentation, grace, and playful eroticism.

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1765Oil on canvas70 × 87 cmFondation Cailleux, Paris

“Young Woman Playing with a Dog” emerged during a period of opulent artistic patronage within Louis XV’s court at Versailles. WahooArt.com offers exceptional reproductions of Jean-Honoré Fragonard's “Young Woman Playing with a Dog,” meticulously crafted to capture the original artwork’s luminous quality and textural richness.

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1736Oil on canvas41 × 53 cm

The composition is a masterclass in Tiepolo’s signature use of light and movement. The way the light dances across the folds of the drapery and the pale skin of Danae creates a rhythmic flow that guides the eye through the drama of the encounter, making the scene feel as though it is unfolding in real-time.

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1737Oil on canvas147 × 195 cmHermitage Museum, Saint Petersburg

Coypel, serving as premier peintre du roi to Louis XV, was renowned for his ability to capture narrative power within a relatively small format. At its heart, “Fury of Achilles” is a retelling of Homer's Iliad, specifically focusing on the moment following Patroclus’s death.

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1729Oil on canvas110 × 105 cmThe Louvre, Paris

Van Loo skillfully employs atmospheric perspective – the subtle blurring of details in the background – to draw the viewer’s eye towards the central figures: Aeneas, the Trojan hero, and his aged father, Anchises. As a leading figure in the Rococo movement, Van Loo’s signature style is immediately recognizable.

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Oil paint on canvas

At the center of the composition, a couple is positioned slightly forward, presumably the bride and groom. The arrangement of the figures is dense and theatrical, creating a sense of social intimacy within the room. The subject matter provides a specific glimpse into the customs and attire of 18th-century Venetian society.

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1756–1762Oil on canvas

The painting titled Girl with a book is a work by the artist Pietro Rotari. It once resided within the collection of the dealer Galerie van Diemen & Co in Berlin, where it was held alongside SK-A-3421. A final transition occurred in 1941, when the work entered its current home through a bequest from J.W.

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1718Oil on canvas56 × 46 cmNational Gallery of Scotland, Edinburgh

Surrounding her are figures engaged in leisurely conversation and dance—a tableau typical of the ‘fête galante,’ Watteau's signature genre. Considered alongside Watteau’s other celebrated works like Venetian Pleasure (also at the National Gallery of Scotland), Fêtes Vénitiennes exemplifies his unparalleled ability to capture the essence of aristocratic life and artistic innovation. Discovering Masterpieces at the Scottish National Gallery: https://www.nationalgalleries.org/visit/scottish-national-gallery

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1748Oil on canvas122 × 155 cmNational Gallery, London

Created in 1748, the work depicts a forest scene that integrates elements of nature and human presence. The piece eventually entered the collection of the National Gallery in London, where it has been held since 1875. The title Cornard Wood has been in use since 1828, originating from a publication associated with the first sale of the artist's works following his death.

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1754–1755Oil on canvasSir John Soane's Museum

The scene unfolds within a bustling tavern – a microcosm of the wider political landscape – where carefully orchestrated displays of flattery, bribery, and outright deception are laid bare for the viewer’s discerning eye. “Canvassing for Votes” cemented William Hogarth’s reputation as a pioneering social commentator and a master of satirical art.

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1752Oil on canvas90 × 90 cmYale Center for British Art, New Haven

The painting depicts the Gravenor family – a father, mother, and three daughters – seated beneath the dappled shade of an ancient tree. Gainsborough's style in The Gravenor Family exemplifies the Rococo tradition, yet with a distinctly English sensibility.

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1737Oil on canvas80 × 65 cmThe Louvre, Paris

Through the subtle tilt of her head and the stillness of her posture, Chardin communicates the weight of intellectual endeavor. Technically, “The Young Draughtsman” is a triumph of the French Rococo and Neoclassical transition. While Chardin’s roots were planted in the formal elegance of the Enlightenment, his heart belonged to the humble and the real.

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1743–1745Oil on canvasNational Gallery, London

William Hogarth's "The Suicide of the Countess," part of his renowned series "Marriage A-la-Mode," offers a stark and poignant commentary on the societal ills of 18th-century England. The artwork depicts the Countess in her final moments, lying lifeless upon a bed within an opulent room.

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1715Oil on canvas73 × 107 cmThe Louvre, Paris

Jean-Antoine Watteau (1684–1721), a luminary of the Rococo movement, irrevocably transformed eighteenth-century painting away from the grandeur of the Baroque towards an ethereal realm of refined pleasure and nuanced emotion. The artist’s meticulous attention to detail extends beyond mere representation; Watteau sought to convey an intangible sense of mood—a feeling of languid beauty and wistful contemplation—that permeates the entire scene.

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1717Oil on canvas61 × 75 cmGemäldegalerie, Dresden

At the heart of “The Festival of Love” stands a couple engaged in what appears to be a quiet conversation or perhaps a shared glance – a moment frozen in time. “The Festival of Love” is a quintessential example of Rococo art – characterized by its emphasis on lightness, elegance, and sensuality.

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1750Oil on canvas82 × 75 cmMetropolitan Museum of Art, New York

The painting measures 82 x 75 cm and features a man and woman in a serene forest setting. It was much admired at the Salon of 1753, showcasing Boucher's skill as a colorist and his ability to handle historical themes with precision. Boucher's work influenced many artists, including Jean-Honoré Fragonard, who also explored romantic gardens and Italian landscapes.

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1775Oil on panel25 × 19 cmWallace Collection, London

This era, defined by the reign of Louis XV, championed elegance, frivolity, and a celebration of sensual pleasure. Though the canvas is intimate in scale—measuring just 25 x 19 cm—it possesses a magnetic presence that draws the viewer into a world of shimmering light and airy color.

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1730Oil34 × 27 cmGallerie dell'Accademia di Venezia, Venice

The subject, a young lady with cascades of blonde hair, gazes out from the canvas with an almost knowing serenity.

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1743Oil on canvas136.5 × 95 cmNational Gallery, London

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1711Oil on canvas51 × 35 cm

The night air hangs heavy and still as two figures find themselves lost in the vastness of the dark. A large, luminous moon dominates the heavens, casting a pale glow over the landscape.

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1717Oil on canvas113 × 85 cm

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1760Oil on canvas229 × 191 cmMetropolitan Museum of Art, New York

At the heart of the composition are Count Giacomo Durazzo, a Genoese diplomat deeply embedded in Viennese society, and his wife, Ernestine Aloisia Ungnad von Weissenwolff. Count Giacomo Durazzo was serving as director of the imperial theaters from 1754 to 1764, playing a crucial role in promoting Gluck's innovative reforms within Italian opera.

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1754Oil on canvas55 × 46 cm

Painted in 1754, this work presents a woman in a moment of calm reflection. This peace is shattered in 1943 when German forces remove the work from the museum. The ownership of this 1754 oil-on-canvas remains caught in a complex tug-of-war between private possession and national restitution.

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1752Oil on canvas81 × 119 cmNational Maritime Museum, London

The painting captures a third-rate ship positioned on the stocks at the Deptford dockyard. To the left, the River Thames flows past the Master Shipwright's house, a structure dating back to 1708. To the right, the dockyard offices, built around 1710, frame the scene, providing a sense of the established maritime infrastructure that surrounds the construction site.

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1792Oil

This work captures a specific moment of grace, frozen in oil. The subject faces the viewer with a quiet, steady gaze. It remains part of the collection at the Toledo Museum of Art in the United States. Élisabeth Louise Vigée Le Brun brought a particular sensitivity to her subjects.

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1779Oil on canvas76 × 64 cmHermitage Museum, Saint Petersburg

The subject herself remains an intriguing mystery – her identity lost to history, she exists as an idealized representation of feminine beauty and status within a rigidly defined societal framework. Gainsborough’s style firmly places “Portrait of a Lady in Blue” within the Rococo tradition, though with a distinctly neoclassical restraint.

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1758Oil on canvas37.9 × 46.3 cmScottish National Gallery, Edinburgh

The context of this painting is inseparable from the cultural zenith of the Rococo period. Madame de Pompadour herself was a figure synonymous with royal patronage and artistic taste during the reign of Louis XV.

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1765Oil on canvas238 × 146 cm

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1743–1744Oil on canvas72 × 69 cmFine Arts Museums of San Francisco

The painting titled The Triumph of Flora is an oil on canvas work by the artist Giovanni Battista Tiepolo. In 1736, he painted Jupiter and Danae. His earlier compositions include Apollo and Marsyas from 1725, as well as Perseus and Andromeda from 1730. He created The Last Supper in 1745 and The Adoration of the Magi in 1750.

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1715Oil71 × 57 cmGalleria degli Uffizi, Florence

Carriera’s choice to depict herself holding a miniature portrait of her sister, Giovanna, is immediately arresting. The Medicis were renowned patrons of the arts, and their collection in Florence served as a showcase for artistic excellence.

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1735Oil on canvas54 × 46 cmMuseum of Fine Arts, Boston

During the regency of the Duke of Orleans and the early reign of King Louis XV, the French elite sought art that reflected their values of wit, elegance, and the enjoyment of nature.

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1717Oil on canvas129 × 194 cmThe Louvre, Paris

Created in 1717, during the height of the Rococo movement, this painting reflects the aristocratic fascination with leisure, love, and mythological allegories. The scene alludes to the ancient Greek myth of Cythera, the birthplace of Venus, goddess of love, symbolizing beauty, desire, and divine influence.

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1780Oil on canvas239 × 147 cm

It is a composition that speaks volumes about connection, lineage, and the idealized life of the gentry during the late Georgian period. Reynolds, a towering figure of the Enlightenment, was celebrated for his command of the Grand Manner—a style rooted in classical ideals yet imbued with palpable naturalism.

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1803Oil on canvas90.81 × 71.12 cmNational Museum of Women in the Arts, Washington, D.C.

Painted during a turbulent period in European history – immediately following the French Revolution – the portrait captures a moment of quiet contemplation within a carefully constructed tableau. Vigée- Le Brun’s mastery is immediately apparent in her use of light. The story surrounding Aimée is steeped in sorrow; her marriage to Auguste Vestris, a renowned performer himself, proved unhappy, marked by infidelity.

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1735Oil on canvas62 × 75 cmSir John Soane's Museum, London

Technically, "Scene in a Tavern" is a triumph of Rococo -influenced realism.

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1785Oil on canvas64 × 52 cmJ. Paul Getty Museum, Los Angeles

Fragonard, a master of capturing fleeting moments of intimacy, employs his signature loose brushwork and delicate pastel hues to create an atmosphere of airy lightness. To understand “The Fountain of Love,” it’s crucial to consider its historical context. Painted in the twilight years of Louis XV's reign, the painting reflects the opulent lifestyle and decadent tastes of the French aristocracy.

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1759Oil on canvas91 × 68 cmWallace Collection, London

Portrait of Marquise de Pompadour (1759) is an oil on canvas painting by François Boucher. This painting (91 x 68 cm) is Now in the collection of the Wallace Collection, London.

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1735Oil on canvas93 × 74 cmNational Gallery of Art, Washington

This oil on canvas painting measures 93 x 74 cm and is currently housed at the National Gallery of Art in Washington, United States. This technique is reminiscent of the Renaissance period, where artists like Leonardo da Vinci used chiaroscuro to create dramatic effects. Chardin's work was influenced by various artistic movements, including Rococo and Baroque.

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1745Oil paint

Adding a touch of warmth and personality to this scholarly setting is the presence of his beloved pug, Trump.

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1753Oil on canvas95 × 137 cmNational Gallery of Art, Washington

Fragonard skillfully portrays this pivotal encounter, placing Diana on a mossy rock adorned with blossoms, radiating serene composure as she gazes upon Endymion asleep beneath her watchful gaze.

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1735Oil on canvas62 × 75 cmSir John Soane's Museum, London

The scene portrays a lavish gaming room populated by men engaged in gambling activities—a practice considered scandalous and indicative of moral decay by the standards of respectable society. “Rake’s Progress” emerged during a period marked by growing anxieties regarding social morality.

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1750Oil on canvas50 × 57 cm

Two rabbits lie side by side upon the ground, their forms resting in a state of complete repose. Scattered around these central figures are bananas, some resting near the animals and others placed toward the edges of the frame.

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1717Oil on canvas52.5 × 65.2 cmDulwich Picture Gallery, London

As the heavy, dramatic shadows of the Baroque era began to recede, Watteau ushered in an age of lightness, grace, and refined leisure.

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1751

This particular pose was one of Boucher's favorite themes. The painting represents the portrait of Louise O'Murphy, a young Irish woman who worked as Boucher's model and She was also the mistress (1753) of Louis XV. This painting (59.5 x 73.5 cm) is Now in the collection of the Wallraf-Richartz Museum, Cologne.

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1777Oil on canvas111.8 × 83.2 cmTate Gallery, London

The painting immediately draws the eye with its harmonious composition. While often categorized as Romantic, “Pomeranian Bitch and Pup” reveals a fascinating interplay with Rococo aesthetics.

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1733Oil on canvas

Hogarth employed chiaroscuro—the dramatic interplay of light and shadow —to heighten the emotional impact of the scene. This technique skillfully isolates Sarah Malcolm’s face within the oppressive darkness of her cell, emphasizing her fear and vulnerability.

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1745Oil on canvas181 × 259 cmHermitage Museum, Saint Petersburg

As the eye wanders across the vast composition, one is immediately struck by the sheer scale of the event. The scene unfolds near a formidable, castle-like structure, where the shimmering waters of a moat reflect the bustling energy of an era defined by ceremony and prestige.

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1748Oil on canvasNational Gallery, London

Influenced by the Rococo tradition, the artist eschews harsh realism in favor of an atmospheric luminosity that feels remarkably modern.

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1787Oil on canvasMuseum of Fine Arts, Boston

“Thomas and Henry Sergeant” finds kinship with several other notable portraits produced during the same period. Similarly, James Curnock's " Thomas Garrard " at Bristol Museum – Art Gallery captures the grandeur of aristocratic patronage while upholding standards of refinement. And John Partridge’s “Sir John Forbes” displayed at Royal College of Physicians exemplifies the meticulous craftsmanship characteristic of the era.

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1773Oil on canvas164 × 129 cmThe State Russian Museum, St. Petersburg

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1777Oil on canvas127 × 101 cm

A man sits anchored in an armchair, his presence defined by the heavy drape of a crimson coat. There is a stillness in his posture, a quiet composure that suggests a life of settled authority. In 1777, this work emerged from the Rococo tradition, favoring grace over dramatic artifice.

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Oil on canvas102 × 86 cmThyssen-Bornemisza Museum, Madrid

Housed within the Museo Thyssen-Bornemisza in Madrid, this monumental canvas—measuring approximately 102 x 86 cm—commands attention with its sheer scale and exuberant composition. The influence of his father, Giovanni Battista Tiepolo, is undeniable, particularly in the grand scale and theatricality of the composition. Painted during the mid-18th century, “Apotheosis of Hercules” reflects the prevailing artistic trends of the Rococo period.

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1768Oil on canvasNationalmuseum, Stockholm

The painting immediately draws the eye to the central figure, draped in luxurious fabrics that shimmer with an almost palpable sheen. The way Suzanne holds the fan, with one hand elegantly poised, speaks volumes about her composure and self-assurance. Roslin’s work reflects his time, blending Classicist influences with the opulent colors and decorative flourishes of Rococo.

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1735Oil on canvas78 × 156 cmThe Louvre, Paris

The painting's loose brushwork and dramatic lighting, combined with its focus on the overwhelming force of nature, foreshadowed the Romantic fascination with untamed landscapes and the emotional experience of confronting the sublime. Interestingly, Vernet’s background as a horse painter subtly informs his seascape.

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1770Oil on canvas

This work captures a quiet arrangement of foodstuffs and the essence of domestic tranquility. It exists as a precise study of the material world, focusing on the textures of sustenance and the stillness of the kitchen. A second version of this work resides at the National Gallery of Art. This piece is held through the Patrons’ Permanent Fund.

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1719Oil on canvas61 × 75 cmStaatliche Kunstsammlungen, Dresden

The scene is set against a backdrop of trees, adding to the natural atmosphere of the park. Some of his notable paintings include La Boudeuse (42 x 34 cm, The Hermitage, St. Petersburg, Russia) and Savoyard with a Marmot (41 x 33 cm, The Hermitage, St. Petersburg, Russia).

Oil reproduction from $181 Canvas print from $47