Charles Amédée Philippe Van Loo's most famous painting is Erigone, also called Autumn (1750). With Presumed Portrait of Livio Vernet (1747 - after 1827) lawyer, son of Joseph Vernet (1750) and Amor is disarmed by Diana (1750), it completes the three works everyone recognises. Our catalogue lists 19 works by Charles Amédée Philippe Van Loo; the 19 below are the ones the world looks at most, each with its year, the museum that holds it and why it matters.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated October 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
The Camera Obscura is an oil on canvas work by Charles Amédée Philippe Van Loo. Created in 1764, this genre art piece measures 89 x 89 cm. The…
Bring it home →In the delicate dance of light and air captured within Charles Amédée Philippe Van Loo’s Soap Bubbles, we find ourselves transported to the heart of the 18th-century Rococo…
Order a reproduction →The four subjects that return most often among these masterpieces, with the finest example of each.
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Charles Amédée Philippe Van Loo | Paintings from this list |
|---|---|---|---|
| Washington | 3 | The Camera Obscura, Soap Bubbles, Soap Bubbles | |
| Munich | 2 | The Birth of Adonis, The Eyes of Argus | |
| Avignon | 1 | Presumed Portrait of Livio Vernet (1747 - after 1827) lawyer, son of Joseph Vernet | |
| Milwaukee | 1 | The Satyrs | |
| London | 1 | Frederick II, King of Prussia (1712-86) | |
| Stockholm | 1 | Henrik prins av Preussen |
Erigone, also called Autumn (1750). Next come Presumed Portrait of Livio Vernet (1747 - after 1827) lawyer, son of Joseph Vernet (1750) and Amor is disarmed by Diana (1750).
31 years old: Erigone, also called Autumn dates from 1750 and Charles Amédée Philippe Van Loo was born in 1719.
Erigone, also called Autumn, Presumed Portrait of Livio Vernet (1747 - after 1827) lawyer, son of Joseph Vernet, Amor is disarmed by Diana, The Birth of Adonis, The Eyes of Argus, The Satyrs, The Toilet of a Sultana, Frederick II, King of Prussia (1712-86), The Induction of Ganymede in Olympus. and The Supper at Simon the Pharisee. The ranking above gives the year and the museum of each.
Our catalogue lists 19 works by Charles Amédée Philippe Van Loo, dated from 1750 to 1781.
Most of them are in National Gallery of Art (Washington), Bavarian State Painting Collections (Munich) and Musée Calvet (Avignon). The table above lists the museums one by one.
In 1760s: 6 of the 19 works on this page date from then, among them The Satyrs.
The earliest on this page is Erigone, also called Autumn (1750), the latest The Supper at Simon the Pharisee (1781).
Oil On Canvas: 2 of the 19 works on this page.
Rococo, as the paintings on this page show.
The Camera Obscura, Soap Bubbles and Soap Bubbles are among the 3 works on this page held by the National Gallery of Art, Washington.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
The world of 18th-century French art is often associated with opulent grandeur, intricate detail, and a profound sense of theatricality. At the heart of this vibrant scene stood Charles Amédée Philippe Vanloo (1719 – 1795), a painter whose career spanned decades and encompassed a remarkable range of subjects—from allegorical scenes brimming with mythological figures to strikingly realistic portraits that captured the essence of his aristocratic patrons. More than just a skilled craftsman, Vanloo was a master storyteller, weaving narratives of power, virtue, and human drama into every canvas he touched.
Born in Aix-en-Provence, Vanloo’s artistic journey began under the tutelage of his father, Jean-Baptiste van Loo—himself a respected painter—in Turin and Rome. This early immersion in the traditions of the Baroque and Roman art academies proved invaluable, providing him with a solid foundation in technique and composition. A pivotal moment in his development arrived in 1738 when he secured the Prix de Rome, a prestigious award that opened doors to the artistic circles of Rome and allowed him to hone his skills amidst some of Europe’s leading artists. His time in Rome wasn't merely academic; it was a period of intense observation and experimentation, shaping his distinctive style – characterized by its elegant lines, dynamic poses, and masterful use of light and shadow.
Vanloo’s early career saw him working primarily in Aix-en-Provence, where he gained recognition for his allegorical paintings—subjects that were immensely popular during the Rococo period. These works often depicted scenes from classical mythology or biblical stories, rendered with a captivating blend of elegance and drama. His ability to infuse these narratives with human emotion was particularly noteworthy; figures weren’t simply presented as idealized archetypes but rather as individuals grappling with complex feelings and situations. He quickly gained favor within the French court, eventually being invited to join the Académie Royale de Peinture et de Sculpture in 1747 – a testament to his rising reputation.
A significant turning point in Vanloo’s career occurred when he accepted an invitation from Frederick the Great of Prussia in 1748. He spent several years at the Prussian court, where he produced numerous works for the royal collection, including a monumental hunting scene—the “Halt de Chasse”—now housed in the Louvre Museum. This commission showcased his ability to capture movement and atmosphere with remarkable precision, solidifying his reputation as one of the most sought-after painters in Europe. His time in Berlin also allowed him to refine his technique and experiment with new approaches to composition and color.
Upon returning to Paris in 1763, Vanloo continued to serve as a court painter, executing portraits of prominent figures—including the Marquis de Sade (a portrait that remains remarkably candid for its time) and members of the royal family. His portraits were distinguished by their psychological depth and ability to reveal the inner lives of his subjects. He also undertook numerous commissions for churches and private collectors, demonstrating a versatility that spanned various genres. Notably, he was commissioned to restore frescoes in the Palace of Fontainebleau, showcasing his skills in both painting and decorative arts.
Vanloo’s legacy extends beyond his individual works; he played a crucial role in shaping the artistic landscape of 18th-century France. He was a student of Jean-Baptiste van Loo, who himself had been mentored by Louis-Michel van Loo—creating a lineage of talented painters within the family. His influence can be seen in the work of his successors, particularly Charles-André van Loo, and he contributed significantly to the development of Rococo painting in France. His ability to seamlessly blend classical influences with contemporary sensibilities ensured that his art remained relevant and engaging for generations to come.
Vanloo's artistic style was deeply rooted in the traditions of the Baroque and Roman art academies, but he also drew inspiration from the work of contemporary artists such as Nicolas Lancret and Jean-Honoré Fragonard. He skillfully blended these influences to create a distinctive Rococo style characterized by its elegance, grace, and theatricality. His compositions are often dynamic and asymmetrical, creating a sense of movement and energy. He was particularly adept at using light and shadow to enhance the drama of his scenes and to draw attention to key figures.
Charles Amédée Philippe Vanloo’s work represents a pivotal moment in the history of French art. He embodies the spirit of the Rococo period—a time of artistic experimentation, social change, and political upheaval. His paintings reflect the values and sensibilities of the aristocracy, while also offering glimpses into the complexities of human nature. His legacy continues to inspire artists today, demonstrating the enduring power of beauty, drama, and narrative in art.