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Eyes to behold stunning artworks in world-class museums.

From 1787 To 1800

  • Yoel Davis

Yoel Davis

•5 min read
Asian Art / The Met

    In some of the porcelain on view, the color green predominates in the painted decoration.
    In others, such as this jar, it is shades of pink that dominate.
    Porcelains painted with this palette have generally been known as famille rose (pink family) in Western writings.

Side chair (voyeuse)

ca. 1735–after 1798, master 1762 / The Met

    Gambling was ubiquitous during the ancien régime, as evidenced in paintings and engravings of the period, and gaming was central to the social rituals of the court and the nobility.
    This painted and gilded side chair is of a type made especially for use during a gaming session.
   Known as voyeuse or viewer, these chairs were produced in a variety of different models depending on the gender of the occupant
    With its high saddle-shaped seat, this chair was designed for a male spectator.
   Straddling it backward, he could rest his arms on the padded top rail of the chair back and watch the game unfold as well as allowing him to view the hand of a player

Julie Le Brun (1780–1819) Looking in a Mirror

French, Paris 1755–1842 Paris / The Met

    Vigée Le Brun represents her only child, Julie, both in profile and full-face through the inclusion of a mirror and impossible perspective.
    The resulting double image, which draws on earlier artists' allegorical figures of Sight, plays on reality versus illusion in painting.
    Vigée Le Brun submitted three paintings of her daughter, including this work, to the Salon of 1787; approximately two years earlier, she had depicted Julie in a nearly identical composition.

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