European Collection

Heureux age! Age d'or (Happy Age! Golden Age) is a painting of a poignantly painted little boy dressed in the cream costume, seated at the center of the painting. The boy’s unfocused gaze contrasts with the animated figures around him—who may all be girls with a tambourine and slapstick, objects of folly.
Heureux age! Age d'or (Happy Age! Golden Age)
Heureux age! Age d'or (Happy Age! Golden Age)
Heureux age! Age d'or (Happy Age! Golden Age) is a painting of a poignantly painted little boy dressed in the cream costume, seated at the center of the painting. The boy’s unfocused gaze contrasts with the animated figures around him—who may all be girls with a tambourine and slapstick, objects of folly.

Heureux age! Age d'or (Happy Age! Golden Age)

Jean-Antoine Watteau
French (1684–1721)
18th century
c. 1716–20
Oil on panel
8 x 9 5/16 in. (20.3 x 23.6 cm) Framed: 14 3/4 x 16 1/2 x 2 3/4 in. (37.5 x 41.9 x 7 cm)
AP 1981.05
As a young man, Watteau came to Paris from Valenciennes, a Flemish town that had recently come under French rule.
Jupiter Among the Corybantes is Crespi's painting of the classical subject the upbringing of the god Jupiter.
Jupiter Among the Corybantes
Jupiter Among the Corybantes
Jupiter Among the Corybantes is Crespi's painting of the classical subject the upbringing of the god Jupiter.

Jupiter Among the Corybantes

Giuseppe Maria Crespi
Italian (1664–1747)
18th century
c. 1730
Oil on copper
26 1/4 x 26 1/4 in. (66.7 x 66.7 cm) Framed: 32 1/2 x 32 3/4 x 2 3/4 in. (82.6 x 83.2 x 7 cm)
AP 1984.17
Giuseppe Maria Crespi, the most innovative Bolognese painter of his day, was especially acclaimed for his intimate genre scenes. His fresh approach also infuses his more traditional subjects, such as Jupiter Among the Corybantes.
Jupiter Among the Corybantes is Crespi's painting of the classical subject the upbringing of the god Jupiter.
Jupiter Among the Corybantes
Jupiter Among the Corybantes
Jupiter Among the Corybantes is Crespi's painting of the classical subject the upbringing of the god Jupiter.

Jupiter Among the Corybantes

Giuseppe Maria Crespi
Italian (1664–1747)
18th century
c. 1730
Oil on copper
26 1/4 x 26 1/4 in. (66.7 x 66.7 cm) Framed: 32 1/2 x 32 3/4 x 2 3/4 in. (82.6 x 83.2 x 7 cm)
AP 1984.17
Giuseppe Maria Crespi, the most innovative Bolognese painter of his day, was especially acclaimed for his intimate genre scenes. His fresh approach also infuses his more traditional subjects, such as Jupiter Among the Corybantes.
In The Molo, Venice Canaletto depicts one of his most popular views of Venice––the Molo, a wharf just west of the Doge’s Palace.
The Molo, Venice
The Molo, Venice
In The Molo, Venice Canaletto depicts one of his most popular views of Venice––the Molo, a wharf just west of the Doge’s Palace.

The Molo, Venice

Canaletto (Giovanni Antonio Canale)
Italian (1697–1768)
18th century
c. 1735
Oil on canvas
24 1/2 x 39 7/8 in. (62.3 x 101.3 cm) Framed: 33 3/4 x 49 1/8 x 2 3/4 in. (85.7 x 124.8 x 7 cm)
AP 1969.22
Trained by his father as a painter of theatrical scenery, Canaletto gained international renown painting scenes of his native Venice. These vivid and compelling cityscapes were much sought after by British aristocrats who traveled to Italy on the Grand Tour.
Although small in size, Young Student Drawing was one of Chardin’s most famous works, in which seems to have been making a comment on the arduous process of artistic training followed by the French Academy.
Young Student Drawing
Young Student Drawing
Although small in size, Young Student Drawing was one of Chardin’s most famous works, in which seems to have been making a comment on the arduous process of artistic training followed by the French Academy.

Young Student Drawing

Jean Siméon Chardin
French (1699–1779)
18th century
c. 1738
Oil on panel
8 1/4 x 6 3/4 in. (21 x 17.1 cm) Framed: 15 1/4 x 13 7/8 x 3 in. (38.7 x 35.2 x 7.6 cm)
AP 1982.07
Adapting the subjects of Dutch cabinet pictures and still lifes of the previous century to French taste, Chardin elevated these genres to the very highest level. His works are exceptional in their sentient depiction of everyday experience and observed reality.
Apollo and the Continents is an oil sketch for a model for a frescoed vault in the Palazzo Clerici in Milan. .At the center of the sketch the sun god, Apollo, emanates a brilliant, yellow light. Nearby, are six planetary deities and two embracing figures are silhouetted against the heavenly light .
Apollo and the Continents
Apollo and the Continents
Apollo and the Continents is an oil sketch for a model for a frescoed vault in the Palazzo Clerici in Milan. .At the center of the sketch the sun god, Apollo, emanates a brilliant, yellow light. Nearby, are six planetary deities and two embracing figures are silhouetted against the heavenly light .

Apollo and the Continents

Giovanni Battista Tiepolo
Italian (1696–1770)
18th century
c. 1739
Oil on canvas
39 x 25 in. (99.1 x 63.5 cm) Framed: 49 1/4 x 31 1/2 x 3 1/4 in. (125.1 x 80 x 8.3 cm)
AP 1985.04
This exquisitely prepared oil sketch served as Tiepolo’s model for a frescoed vault in the Palazzo Clerici in Milan, commissioned by Marquess Antonio Giorgio Clerici.
Portrait of a Woman, Possibly of the Lloyd Family shows twined trees at the right which mimic the sitter's crossed limbs and draws the eye to her blue silk dress. The dress has side hoops and the gauzy blue and pink fabric surrounds the fashionable straw hat nestled in her lap.
Portrait of a Woman, Possibly of the Lloyd Family
Portrait of a Woman, Possibly of the Lloyd Family
Portrait of a Woman, Possibly of the Lloyd Family shows twined trees at the right which mimic the sitter's crossed limbs and draws the eye to her blue silk dress. The dress has side hoops and the gauzy blue and pink fabric surrounds the fashionable straw hat nestled in her lap.

Portrait of a Woman, Possibly of the Lloyd Family

Thomas Gainsborough
British (English) (1727–1788)
18th century
c. 1750
Oil on canvas
27 3/8 x 20 7/8 in. (69.6 x 53 cm) Framed: 34 1/4 x 27 3/4 x 3 in. (87 x 70.5 x 7.6 cm)
ACF 1946.04
Along with his contemporary Joshua Reynolds, Gainsborough was one of the leading figures in the glamorous “golden age” of British portraiture.
Suffolk Landscape is a landscape painting of the english countryside derived from compositions of Jacob van Ruisdael and other Dutch masters.
Suffolk Landscape
Suffolk Landscape
Suffolk Landscape is a landscape painting of the english countryside derived from compositions of Jacob van Ruisdael and other Dutch masters.

Suffolk Landscape

Thomas Gainsborough
British (English) (1727–1788)
18th century
mid-1750s
Oil on canvas
25 1/8 x 30 1/4 in. (63.8 x 76.9 cm) Framed: 34 1/4 x 41 x 3 1/2 in. (87 x 104.1 x 8.9 cm)
ACF 1942.02
Gainsborough’s passion for landscape dated from his earliest years. The canvases he painted in his native Suffolk show his admiration for the Dutch seventeenth-century landscapes that were increasingly available in the English market, and which Gainsborough restored, copied, and later collected.
The Coronation of the Virgin is an oil sketch model for a ceiling fresco. In this celestial vision, the Virgin, clothed in white to denote her purity and surmounting a blue globe, is escorted by a glory of angels as she rises toward the Trinity.
The Coronation of the Virgin
The Coronation of the Virgin
The Coronation of the Virgin is an oil sketch model for a ceiling fresco. In this celestial vision, the Virgin, clothed in white to denote her purity and surmounting a blue globe, is escorted by a glory of angels as she rises toward the Trinity.

The Coronation of the Virgin

Giovanni Battista Tiepolo
Italian (1696–1770)
18th century
1754
Oil on canvas
40 3/8 x 30 7/16 in. (102.6 x 77.3 cm) Framed: 50 x 42 x 5 in. (127 x 106.7 x 12.7 cm)
AP 1984.10
Tiepolo’s reputation as the leading painter of his day won him major commissions for frescoes from monarchs and princes of the Church in Italy.
La Simplicité (Simplicity) is a narrative oval painting of a girl pulling the petals off a daisy in a ritual of “he loves me, he loves me not.”
La Simplicité (Simplicity)
La Simplicité (Simplicity)
La Simplicité (Simplicity) is a narrative oval painting of a girl pulling the petals off a daisy in a ritual of “he loves me, he loves me not.”

La Simplicité (Simplicity)

Jean-Baptiste Greuze
French (1725–1805)
18th century
1759
Oil on canvas
28 x 23 1/2 in. (71.1 x 59.7 cm) Framed: 35 1/8 x 30 1/2 x 3 in. (89.2 x 77.5 x 7.6 cm)
AP 1985.03
Jean-Baptiste Greuze achieved fame for his morally uplifting narrative paintings, but he was equally adept working in the pastoral, erotic mode brought to refinement by François Boucher.
Portrait of a Woman, Possibly Elizabeth Warren is a portrait executed in the grand manner, in which beauty and grandeur are achieved by avoiding the particularities of local fashions.
Portrait of a Woman, Possibly Elizabeth Warren
Portrait of a Woman, Possibly Elizabeth Warren
Portrait of a Woman, Possibly Elizabeth Warren is a portrait executed in the grand manner, in which beauty and grandeur are achieved by avoiding the particularities of local fashions.

Portrait of a Woman, Possibly Elizabeth Warren

Joshua Reynolds
British (English) (1723–1792)
18th century
1759
Oil on canvas
93 3/4 x 58 3/16 in. (238.1 x 147.8 cm) Framed: 105 1/2 x 69 3/4 x 5 1/4 in. (268 x 177.2 x 13.3 cm)
ACF 1961.02
Having established a portrait practice in London, in 1749 Joshua Reynolds embarked on a journey to Italy, where during a two-year stay in Rome he studied the artistic canon of the antique, Michelangelo, Raphael, and the great Venetian masters.
Still Life with Oranges, Jars, and Boxes of Sweets in which Meléndez scrupulously renders the textures and forms of the closely grouped fruit and containers, highlighting the glazed curve of a honey jar of Manises pottery, one of his favorite motifs.
Still Life with Oranges, Jars, and Boxes of Sweets
Still Life with Oranges, Jars, and Boxes of Sweets
Still Life with Oranges, Jars, and Boxes of Sweets in which Meléndez scrupulously renders the textures and forms of the closely grouped fruit and containers, highlighting the glazed curve of a honey jar of Manises pottery, one of his favorite motifs.

Still Life with Oranges, Jars, and Boxes of Sweets

Luis Meléndez
Spanish (1716–1780)
18th century
c. 1760–65
Oil on canvas
19 x 13 7/8 in. (48.3 x 35.2 cm) Framed: 24 1/2 x 20 x 2 in. (62.2 x 50.8 x 5.1 cm)
AP 1985.13
Luis Meléndez was the greatest Spanish still-life painter of his time. As the most gifted student admitted to the newly founded Royal Academy of Fine Arts in Madrid in 1745, he could have anticipated a prosperous career at the Spanish court.
The Pond is Fragonard's landscape including a sandy road, trees, and open expanse of blue sky, with a colorful note of a barking dog and two women who appear to be fishing for crayfish.
The Pond
The Pond
The Pond is Fragonard's landscape including a sandy road, trees, and open expanse of blue sky, with a colorful note of a barking dog and two women who appear to be fishing for crayfish.

The Pond

Jean-Honoré Fragonard
French (1732–1806)
18th century
c. 1761–65
Oil on canvas
25 3/4 x 28 3/4 in. (65.4 x 73.1 cm) Framed: 33 1/4 x 36 1/2 x 3 1/2 in. (84.5 x 92.7 x 8.9 cm)
AP 1968.03
Fragonard was the last and perhaps the greatest of the French Rococo painters. A pupil of François Boucher, from whom he developed his fluent handling of paint, he produced some of the most masterful and hedonistic decorations of the eighteenth century.
Lord Grosvenor's Arabian Stallion with a Groom exemplifies Stubbs’s characteristically uncompromising spirit, and his quest for calibrated composition and balanced tones.
Lord Grosvenor's Arabian Stallion with a Groom
Lord Grosvenor's Arabian Stallion with a Groom
Lord Grosvenor's Arabian Stallion with a Groom exemplifies Stubbs’s characteristically uncompromising spirit, and his quest for calibrated composition and balanced tones.

Lord Grosvenor's Arabian Stallion with a Groom

George Stubbs
British (English) (1724–1806)
18th century
c. 1765
Oil on canvas
39 1/8 x 32 7/8 in. (99.3 x 83.5 cm) Framed: 44 x 37 1/2 x 2 5/8 in. (111.8 x 95.3 x 6.7 cm)
AP 1981.03
George Stubbs was the greatest painter of animals of his day. He was celebrated especially for his representation of horses, the forms and nature of which he captured with a remarkable understanding and sensitivity.
The River Rhine Separating the Waters is a small scale terracotta sculpture of a roiling, horizontally extended figure of the Rhine separating the waters. The muscles of his arms, neck, torso, and thighs are taut while his beard undulates like the water he personifies, gripping the mouth of the urn.
The River Rhine Separating the Waters
The River Rhine Separating the Waters
The River Rhine Separating the Waters is a small scale terracotta sculpture of a roiling, horizontally extended figure of the Rhine separating the waters. The muscles of his arms, neck, torso, and thighs are taut while his beard undulates like the water he personifies, gripping the mouth of the urn.

The River Rhine Separating the Waters

Clodion (Claude Michel)
French (1738–1814)
18th century
1765
Terracotta
11 x 18 x 12 in. (27.9 x 45.7 x 30.5 cm)
AP 1984.05
One of the outstanding sculptors of his age, Claude Michel, better known as Clodion, is today most admired for his small-scale terracottas.
Tivoli: The Temple of the Sybil and the Campagna is a landscape painting deriving its composition from classical landscapes: a wedge of land framed by a tree, the hillside view of Tivoli, and the vista of the low plain as it extends toward Rome.
Tivoli: The Temple of the Sybil and the Campagna
Tivoli: The Temple of the Sybil and the Campagna
Tivoli: The Temple of the Sybil and the Campagna is a landscape painting deriving its composition from classical landscapes: a wedge of land framed by a tree, the hillside view of Tivoli, and the vista of the low plain as it extends toward Rome.

Tivoli: The Temple of the Sybil and the Campagna

Richard Wilson
British (Welsh) (1714–1782)
18th century
c. 1765
Oil on canvas
29 x 38 1/2 in. (73.6 x 97.8 cm) Framed: 36 1/2 x 46 x 3 3/4 in. (92.7 x 116.8 x 9.5 cm)
APx 1979.29
Tivoli, in the Sabine hills to the east of Rome, was from the seventeenth century a favorite destination for artists. The grandeur of its landscape, with its evocations of ancient glory, also made it a major destination for foreign visitors on the Grand Tour.

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