Reference list · Rococo
1711 – 1803
Thomas Gainsborough's The Blue Boy (Jonathan Buttall) (1770, Henry E. Huntington Library), Jean-Antoine Watteau's Embarkation for Cythera (1717, The Louvre), Jean-Honoré Fragonard's The Swing_ (1767, Wallace Collection), Jean-Honoré Fragonard's A Young Girl Reading (1769, National Gallery of Art) and Jean-Antoine Watteau's Gilles (1719, The Louvre): these are the most famous Rococo paintings. Below, all 100 of them — painted from 1711 to 1803 by 42 artists — with their date, their size and the museum that keeps them.
List
Each entry records the artist, date, technique, dimensions and current collection, followed by a summary from the artwork's notice.
1770Oil on canvas177.8 × 112.1 cmHenry E. Huntington Library, San Marino
The subject is believed to be Jonathan Buttall, though recent scholarship suggests it may be Gainsborough’s nephew, Gainsborough Dupont. Created around 1770, this work reflects a shift towards greater naturalism and emotional depth within British art, moving away from rigid formality toward a more relaxed and expressive style.
Notable elementsblue silk clothingdramatic landscape backgroundatmospheric quality
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. "The Embarkation for Cythera" was submitted as Watteau's reception piece to the Royal Academy of Painting and Sculpture in 1717.
Notable elementsfête galantecupid figuresstatue of Venusgolden boathazy landscape
1767Oil on canvas81 × 64.2 cmWallace Collection, London
The Swing_ by Jean-Honoré Fragonard is an 18th-century oil painting. This work is also known by the titles L'Escarpolette or The Happy Accidents of the Swing. The composition originated from a specific commission involving a courtier and Gabriel François Doyen. Between August and November 2021, the painting underwent a period of conservation at the Wallace Collection in London.
1769Oil on canvas105 × 90 cmNational Gallery of Art, Washington
Dressed in a sumptuous goldenrod-yellow gown, she sits enveloped by the textures of her surroundings—the delicate lace at her neckline, the soft mauve bows that accent her attire, and the plush, oversized pillow streaked with lilac and rose pink. While Fragonard was often celebrated for his more exuberant and frothy compositions, this work reveals his ability to command the atmosphere of quietude.
Jean-Antoine WatteauRococo
1719Oil on canvas (presumed)185 × 150 cmThe Louvre, Paris
Measuring 185 x 150 cm, the artwork’s scale allows for an immersive experience of its delicate beauty and nuanced emotional depth. 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.
Notable elementsdonkeyatmospheric perspectivepierrot costume
Oil on canvas
The scene depicts a social gathering centered around a scientific experiment, where a natural philosopher demonstrates the effects of air deprivation on a bird using an air pump. This painting exemplifies Joseph Wright of Derby’s signature use of chiaroscuro, a technique that emphasizes dramatic contrasts between light and dark.
Notable elementsdramatic lightingsocial gatheringscientific experimentchiaroscuro
Jean-Antoine WatteauRococo Style
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. Departing from the grandeur and moral didacticism of the Baroque, Watteau envisioned idealized landscapes populated by elegantly dressed figures engaged in leisurely pursuits—dancing, picnicking, and strolling amidst blossoming trees and fountains.
Joshua ReynoldsRococo
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.
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. Created in 1740, this work exemplifies the mastery of realism characteristic of Jean-Baptiste-Siméon Chardin.
Notable elementssoft lightingtender depiction of a young girla woman engaged in educational activitymeticulous detailsubtle color variations
1748Oil on canvas70 × 119 cmNational Gallery, London
“Mr and Mrs Andrews” exemplifies the refined elegance of the Rococo style. 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.
Notable elementsportraituredogriflelandscape
Maurice Quentin de La TourRococo Portraiture
1753Pastel47 × 38 cmMusée d'Art et d'Histoire, Женева
De La Tour, a master of Rococo portraiture, expertly employs pastel to achieve a remarkable softness and luminosity, qualities perfectly suited to capturing the nuances of Rousseau’s character. A Portrait of an Icon: The commission itself speaks volumes about Rousseau’s standing at the time. As one of the leading philosophical voices of the era, his image was destined to be captured by a skilled artist like De La Tour.
Notable elementssmiling subjectattire
Oil on canvas
At the center, the quiet devotion of Mary and the infant Jesus anchors the composition. 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.
1712Oil on canvas35 × 31 cmThyssen-Bornemisza Museum, Madrid
The painting's visual impact begins immediately with its serene backdrop – ancient trees draped in moss and illuminated by dappled sunlight. 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.
1713Oil on canvasFine Arts Museums of San Francisco
At first glance, “Party of Four” presents a seemingly simple tableau: four figures seated on a rustic bench amidst a verdant woodland. “Party of Four” is deeply rooted in its historical context – the opulent yet understated leisure culture of 18th-century France. Interestingly, the year 1713 was also significant as the year the Merchant’s House Museum was built in Paris, showcasing the architectural advancements and cultural flourishing of the era.
Notable elementsguitarred dress
1752Oil on canvas318 × 261 cmWallace Collection, London
At its core, “The Setting of the Sun” tells a story rooted in Greek mythology. 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.
Notable elementsmythological scene
1715–1717Oil on panel610 × 440 cmNationalmuseum, Stockholm
Painted in 1717 on an oil panel measuring 610 x 440 cm, “The Love Lesson” transports viewers to a lush parkland setting. 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
François BoucherRococo Elegance
1747Oil on canvas160 × 193 cmThe Louvre, Paris
The painting breathes with the soft, blended strokes characteristic of the 18th-century French style, creating an atmosphere that feels almost ethereal. Through the strategic interplay of light and shadow, Boucher sculpts the forms of Europa and the bull, lending them a weight and presence that command the room.
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. The Rococo style, which Liotard navigated so gracefully, favored intimacy, ornamentation, and a celebration of leisure life.
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. George Smith, active in the 18th century, captures a genre of painting deeply rooted in the traditions of British sporting art.
William HogarthRococo Satire
1738Print (etching & engraving)Cleveland Museum of Art
The scene unfolds beneath a moonlit sky, dominated by the flickering glow of a bonfire, its warmth contrasting sharply with the cool, almost melancholic tones of the surrounding darkness. This transition allowed Hogarth to expand upon the intricate details he’d established in his print, enriching the scene with a remarkable level of texture and atmospheric depth. Night” reflects the vibrant, yet turbulent, atmosphere of 18th-century London.
Notable elementsnight scenefirehorse
Giovanni Paolo PaniniBaroque Rococo Fusion
1759Oil on canvasThe Louvre, Paris
Linear perspective dominates, guiding the gaze towards a vanishing point and creating depth through overlapping canvases and receding architectural details.
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. A young woman, clad in a creamy silk gown, steps from a shadowed doorway – a deliberate departure from the formal architecture behind her – to meet a young man leaning against a balcony railing.
Notable elementsflirtationrococo style
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.
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. Lancret’s signature style is immediately apparent: a delicate dance of light, color, and movement.
Notable elementsgardenfamily scene
1736OilChâteau de Versailles
At its center stands Saint Paul, receiving an accolade from Emperor Constantine, symbolizing the conversion of Rome to Christianity and establishing a divine alliance between pagan tradition and Christian faith. Characteristic of the Rococo movement, Lemoyne’s work abandons the austere formality of Neoclassicism for exuberant ornamentation and dynamic movement.
1716Oil on canvas65 × 93 cmWallace Collection, London
The painting's composition is meticulously crafted to convey specific meanings beyond mere visual appeal. The artist skillfully manipulates light and shadow —a technique reminiscent of Renaissance painters like Raphael—to sculpt forms and imbue them with luminescence. The Islington Local History Centre and Museum in London also houses various artworks from different artists.
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.
1742Oil on canvas56 × 73 cm
The work centers on the Roman goddess Diana, portrayed in a state of nudity. His interest in the goddess Diana is evident in other compositions, such as Diana Resting after her Bath, dated about 1749. In Venus Consoling Love, he further developed this visual language, emphasizing the playful and sensual atmosphere characteristic of his mid-century commissions.
François de TroyRococo Elegance
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.
1730Oil on canvas78 × 64 cm
In 1720, the oil on canvas Adoration of the Shepherds unfolds, bringing a quiet reverence to the viewer. A Sibyl appears in 1726, captured in oil on canvas with a distinct sense of presence. The scale of his vision expands into the architecture of the sacred, seen in the 1727 fresco detail of the Glory of St Cecilia.
1750Oil75 × 62 cmNew York Historical Society, New York City
The sitter, Susan Murrill, is presented in a moment of quiet composure. A yellow ribbon encircles her neck, providing a sharp point of color against the cool tones of her attire, while a pearl choker adds a subtle luster to her throat. Painted around 1750, this work emerged during a period when portraiture was increasingly used to capture the character of the individual alongside their social status.
Jean-Baptiste-Siméon ChardinRococo Style
1740Oil on canvas49.5 × 38.5 cmThe Louvre, Paris
The clock hanging above the table subtly anchors the scene in time, reminding us of the passage of life and the importance of cherishing these quiet moments.
Notable elementsfamily sceneprayer
Pastel
This piece functions as an etude de tête d'une jeune personne, a study of a young person's head. The subject is identified as Mlle Puvigny, captured in a moment of quiet presence. 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.
1723Oil on canvas195 × 129 cm
Created in 1723, the work presents a scene of high-ranking nobility through the eyes of a skilled observer. 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.
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. The painting's creation was intrinsically linked to the patronage of Madame de Pompadour, Louis XV’s influential mistress.
Notable elementspastoral scene
Jean-Honoré FragonardRococo Style
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.
1736Oil on canvas41 × 53 cm
The composition is a masterclass in Tiepolo’s signature use of light and movement. The arrangement of the room—the elegant couch, the delicate vase, and the carefully placed shadows—creates a stage-like setting that enhances the theatricality of the Rococo style.
1737Oil on canvas147 × 195 cmHermitage Museum, Saint Petersburg
It's a scene saturated not just with physical violence but with psychological turmoil, reflecting the anxieties and passions that defined 18th-century European society. 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.
Notable elementsfiguresdramatic scene
1729Oil on canvas110 × 105 cmThe Louvre, Paris
Van Loo’s mastery extends to portraying the human form; Aeneas and Anchises are depicted with a graceful elegance that reflects the ideals of beauty prevalent during the Rococo period. Furthermore, the presence of the woman in the background has been interpreted as representing Fides (Faith) or perhaps even Venus herself, subtly reinforcing the themes of duty, honor, and divine guidance.
Notable elementstrojan hero scene
Oil paint on canvas
At the center of the composition, a couple is positioned slightly forward, presumably the bride and groom. The execution involves several specific visual components: The use of thin glazes of oil paint to achieve subtle color gradations and a smooth surface finish.
1750Oil paint on canvas
Head of a Young Girl is an oil portrait by the French artist Jean-Baptiste Greuze. The subject of the painting is a young girl whose face is characterized by a contemplative expression. The portrait centers on the face, utilizing a warm and muted color palette to establish an intimate connection between the subject and the viewer. This specific work is held at Musée Fabre, Montpellier.
1756–1762Oil on canvas
It belongs to the period of the artist's career spanning c. 1756 - 1762. 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.
Jean-Antoine WatteauRococo Style
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. Created during Louis XIV’s reign, Fêtes Vénitiennes reflects the aristocratic fascination with escapism and refined entertainment. Watteau's paintings served as a visual manifesto for this era, rejecting Baroque formality in favor of a more intimate and emotionally resonant aesthetic. Discovering Masterpieces at the Scottish National Gallery: https://www.nationalgalleries.org/visit/scottish-national-gallery
1748Oil on canvas122 × 155 cmNational Gallery, London
Created in 1748, the work depicts a forest scene that integrates elements of nature and human presence. Some sources suggest the work dates to about 1740, while other records indicate a date of 1748. The work is part of the permanent collection and was acquired by the institution in 1875 through the Lewis Fund.
William HogarthRococo Satire
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. Hogarth's genius lies in his ability to blend Rococo style with biting satire. “Canvassing for Votes” cemented William Hogarth’s reputation as a pioneering social commentator and a master of satirical art.
Notable elementssatirical tactics
Thomas GainsboroughRococo Portraiture
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.
Notable elementsobjectsfamily scene
1737Oil on canvas80 × 65 cmThe Louvre, Paris
In the quiet corners of the eighteenth century, away from the gilded opulence of royal courts and the theatrical flourishes of the Baroque era, Jean-Baptiste-Siméon Chardin found his true calling. 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.
1743–1745Oil on canvasNational Gallery, London
The scene is laden with symbolic details that reveal the tragic trajectory of her life. The composition is deliberately crowded, creating a sense of claustrophobia and reflecting the suffocating nature of the Countess's circumstances.
Jean-Antoine WatteauRococo Style
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 composition itself is deliberately asymmetrical, guiding the viewer’s gaze across a carefully orchestrated tableau populated by figures rendered in soft pastel hues —a hallmark of Rococo aesthetics.
François BoucherRococo Elegance
1751Oil on canvas108 × 85 cmMetropolitan Museum of Art, New York
In the heart of the eighteenth century, amidst the gilded splendor of the French court, François Boucher captured a moment of pure, unadulterated grace. At the center of this luminous tableau lies Venus, the Roman goddess of love, reclining upon a lavish pink velvet canapé.
1717Oil on canvas61 × 75 cmGemäldegalerie, Dresden
Watteau, a pivotal figure bridging the Baroque and Rococo eras, wasn’t merely recording a scene; he was crafting an atmosphere, imbuing it with a sense of wistful longing and the intoxicating allure of the fête galante – a genre he essentially invented. “The Festival of Love” is a quintessential example of Rococo art – characterized by its emphasis on lightness, elegance, and sensuality.
Notable elementscoupleshorse
1750Oil on canvas82 × 75 cmMetropolitan Museum of Art, New York
Created in 1750, this work of art is now housed at The Metropolitan Museum of Art in New York, United States. 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. For example, Fragonard's " The Cascade " (29 x 24 cm), executed on wood, demonstrates a similar attention to detail and color intensity.
Jean-Honoré FragonardRococo Style
1775Oil on panel25 × 19 cmWallace Collection, London
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. Unlike many of Fragonard’s more exuberant works that focus on courtship and overt passion, “The Souvenir” captures a more private, melancholic beauty.
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.
1743Oil on canvas136.5 × 95 cmNational Gallery, London
Johann ZoffanyRococo Portrait
1775Oil on canvas78.7 × 97.8 cmYale Center for British Art, New Haven
However, behind them, occupying a significant portion of the canvas, is a staged scene depicting Hercules battling Envy, a deliberate inclusion that subtly alludes to the family’s circumstances. The presence of the cello, prominently displayed near the center, suggests musical entertainment and perhaps even hints at the marital harmony sought by Lord Cowper and his bride.
Notable elementsconversation piececello
1711Oil on canvas51 × 35 cm
The night air hangs heavy and still as two figures find themselves lost in the vastness of the dark. This painting belongs to a specialized series of small canvases created in 1711, commissioned by the Bolognese count Luigi Marsili. The style moves between the theatricality of the Baroque and the more structured, formal restraint of the emerging Neoclassical movement.
1717Oil on canvas113 × 85 cm
Martin van MeytensBaroque Rococo
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. Durazzo’s position at court also reflects the broader cultural landscape of the Habsburg empire – a center of artistic patronage and political intrigue.
Notable elementsapplecoupledogs
1752Oil on canvas81 × 119 cmNational Maritime Museum, London
The painting captures a third-rate ship positioned on the stocks at the Deptford dockyard. John Cleveley The Elder brings a specific, technical clarity to this scene. 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.
1792Oil
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. In this 1792 creation, she focuses on the soft contours of the sitter. The brushwork carries the quiet weight of the 18th century.
1754Oil on canvas55 × 46 cm
Painted in 1754, this work presents a woman in a moment of calm reflection. The life of this painting takes a dramatic turn in 1931, when it finds a home within the walls of the Wielkopolskie Museum in Poznan, Poland. The ownership of this 1754 oil-on-canvas remains caught in a complex tug-of-war between private possession and national restitution.
1779Oil on canvas76 × 64 cmHermitage Museum, Saint Petersburg
Gainsborough’s style firmly places “Portrait of a Lady in Blue” within the Rococo tradition, though with a distinctly neoclassical restraint. The influence of Antoine Watteau, a master of pastel landscapes and elegant figures, is evident in the delicate handling of fabrics and the overall sense of grace. Thomas Gainsborough was a pivotal figure in British art history, bridging the gap between Rococo elegance and the emerging neoclassical style.
Notable elementsrich textureloose brushwork
1758Oil on canvas37.9 × 46.3 cmScottish National Gallery, Edinburgh
Madame de Pompadour herself was a figure synonymous with royal patronage and artistic taste during the reign of Louis XV.
Notable elementsfanpearl bracelet
1765Oil on canvas238 × 146 cm
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. 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. Between 1767 and 1769, he executed The Immaculate Conception.
1715Oil71 × 57 cmGalleria degli Uffizi, Florence
Carriera’s choice to depict herself holding a miniature portrait of her sister, Giovanna, is immediately arresting. To fully appreciate “Self-Portrait Holding a Portrait of Her Sister,” it's crucial to understand Rosalba Carriera’s place within the vibrant artistic milieu of 18th-century Venice. The Medicis were renowned patrons of the arts, and their collection in Florence served as a showcase for artistic excellence.
Nicolas LancretRococo Charm
1735Oil on canvas54 × 46 cmMuseum of Fine Arts, Boston
The scene unfolds within a lush, verdant park, where a group of elegantly dressed men and women are gathered around a dining table, lost in the gentle rhythm of convivial conversation. 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.
1789Oil on canvasThe Louvre, Paris
Painted in 1789, this artwork depicts Madame Rousseau and her daughter, a tender tableau that speaks volumes about familial affection and societal ideals during Marie Antoinette’s reign. The canvas is dominated by a vertical orientation, prioritizing the central figures—Madame Rousseau and her child—creating an immediate sense of intimacy. Vigée Le Brun achieves remarkable textural depth through meticulous brushwork.
1717Oil on canvas129 × 194 cmThe Louvre, Paris
The scene is filled with elegantly dressed figures engaged in social interaction, love, and leisure, evoking a sense of idyllic escapism. The composition draws the viewer into a bustling outdoor gathering, where couples converse, flirt, and enjoy the pleasures of companionship amidst lush, sprawling trees and a softly illuminated landscape.
Notable elementslively figuresmythological themesallegorical scenevibrant color palette
1780Oil on canvas239 × 147 cm
The scene unfolds with an undeniable warmth, presenting Lady Delm seated gracefully upon the ground, surrounded by her two children and three loyal dogs. While the overall feeling echoes the delicate sensibilities sometimes associated with Rococo art through its soft palette and gentle lines, Reynolds anchors it with a classical structure, paying homage to masters like Raphael.
Élisabeth Louise Vigée Le BrunNeoclassical Rococo
1803Oil on canvas90.81 × 71.12 cmNational Museum of Women in the Arts, Washington, D.C.
Élisabeth Louise Vigée Le Brun's “Portrait of a Woman, Said to Be Anne Catherine (Aimée) Augier Vestris” is more than simply a likeness; it’s a poignant meditation on beauty, loss, and the fleeting nature of life. Fleeing France after the revolution, Vigée- Le Brun encountered her and painted this portrait.
Notable elementsluminous skindark eyes
William HogarthRococo Decorative Style
1735Oil on canvas62 × 75 cmSir John Soane's Museum, London
Technically, "Scene in a Tavern" is a triumph of Rococo -influenced realism.
1785Oil on canvas64 × 52 cmJ. Paul Getty Museum, Los Angeles
Captured with an almost dreamlike quality, the painting transports us to a verdant, sun-drenched forest, where a young couple – seemingly oblivious to the watchful eyes of Cupid himself – rush towards a central fountain. Painted in the twilight years of Louis XV's reign, the painting reflects the opulent lifestyle and decadent tastes of the French aristocracy.
Notable elementsputtiloversfountain
1759Oil on canvas91 × 68 cmWallace Collection, London
Portrait of Marquise de Pompadour (1759) is an oil on canvas painting by François Boucher. The painting is of Jeanne-Antoinette Poisson (1721-1764) who became marquise de Pompadour and maitresse en titre to Louis XV in 1745. This painting (91 x 68 cm) is Now in the collection of the Wallace Collection, London.
Jean-Baptiste-Siméon ChardinRococo Art
1735Oil on canvas93 × 74 cmNational Gallery of Art, Washington
Jean-Baptiste Simeon Chardin's Soap Bubbles, created in 1735, is a remarkable example of Rococo art. 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.
1745Oil paint
This companionship softens the artist's persona, adding a layer of human vulnerability and affection that makes the portrait deeply relatable.
1719Oil on canvas60 × 75 cmStaatliche Kunstsammlungen, Dresden
Among his celebrated creations is Meeting in the Open Air (1719), currently housed at the Staatliche Kunstsammlungen Dresden, Germany—a painting that encapsulates the spirit of its era and Watteau’s unparalleled artistic vision. Measuring 60 x 75 cm, Meeting in the Open Air is executed in oil on canvas —a medium favored by Watteau for its capacity to capture subtle nuances of color and texture.
Jean-Honoré FragonardRococo Elegance
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.
William HogarthRococo Decorative Style
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.
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.
Jean-Antoine WatteauRococo Style
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.
1751
Nude on a Sofa (1751) is an oil on canvas painting by François Boucher. 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.
1748Oil on canvasNational Gallery, London
The way the light interacts with the textures—from the heavy silk of Mrs. Andrews’s gown to the rugged bark of the ancient tree—foreshadows the Impressionist movement by decades.
1733Oil on canvas
Hogarth employed chiaroscuro—the dramatic interplay of light and shadow —to heighten the emotional impact of the scene. The painting captures a pivotal moment in legal history—the trial and impending execution of Sarah Malcolm for murdering Lydia Duncomb and two servants. Even the positioning of the clock above Malcolm’s head contributes to the narrative tension, suggesting the relentless march toward judgment.
1745Oil on canvas181 × 259 cmHermitage Museum, Saint Petersburg
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. The interplay between the solid, permanent structures of Venice and the transient, flickering light of a summer day creates a visual richness that is both intellectually stimulating and aesthetically pleasing.
Notable elementsgondolamoatcastle-like buildingboats
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.
Notable elementsdetailsoft colors
Louis Michel van LooRococo Portraiture
1767Oil on canvas81 × 65 cmThe Louvre, Paris
Similarly, the books on his desk—a collection of philosophical treatises and literary works—are depicted with a level of precision that suggests Van Loo’s deep understanding of their subject matter. The presence of multiple chairs—one occupied by Diderot, another further back—suggests a space dedicated to intellectual exchange and debate. The books themselves are symbolic of the Enlightenment's emphasis on reason, knowledge, and critical inquiry.
Notable elementschairdeskbooks
1787Oil on canvasMuseum of Fine Arts, Boston
The painting’s central focus is undeniably its subjects – two young boys, Thomas and Henry Sergeant – positioned side by side with arms outstretched in a gesture of camaraderie. “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.
1773Oil on canvas164 × 129 cmThe State Russian Museum, St. Petersburg
1777Oil on canvas127 × 101 cm
A man sits anchored in an armchair, his presence defined by the heavy drape of a crimson coat. The fabric catches the light, revealing the subtle textures of fine wool and the structured lines of a gentleman's station.
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. Alexander Roslin was a pivotal figure in the transition from the Baroque to the Rococo style. Roslin’s work reflects his time, blending Classicist influences with the opulent colors and decorative flourishes of Rococo.
Notable elementschiaroscuroveil prop
Oil on canvas102 × 86 cmThyssen-Bornemisza Museum, Madrid
The influence of his father, Giovanni Battista Tiepolo, is undeniable, particularly in the grand scale and theatricality of the composition. The “Apotheosis of Hercules” draws upon the ancient Greek myth of Hercules' final victory over his mortal enemies. The story recounts how, after completing twelve labors, Hercules was granted a glorious apotheosis—a transformation into a god—by Zeus himself.
Notable elementsfiguresgodsangels
Joseph VernetRococo Style
1735Oil on canvas78 × 156 cmThe Louvre, Paris
Tempest” is firmly rooted in the Rococo style, yet it anticipates the burgeoning Romantic movement. Vernet’s work represents a pivotal moment in art history, bridging the gap between the formal elegance of the late Baroque and the passionate individualism that would characterize the Romantics. Interestingly, Vernet’s background as a horse painter subtly informs his seascape.
Notable elementsshipwreckstorm
1770Oil on canvas
The oil on canvas titled Still-Life was executed by the Spanish painter Luis Egidio Meléndez in 1770. This approach aligns the work with the principles of Realism and the structured elegance of the Baroque. A second version of this work resides at the National Gallery of Art. This piece is held through the Patrons’ Permanent Fund.
1719Oil on canvas61 × 75 cmStaatliche Kunstsammlungen, Dresden
The Pleasures of Love is a prime example of Watteau's unique style, which blends elements of Rococo and Baroque art. For those interested in exploring more artworks by Jean Antoine Watteau and other artists, The Pleasures of Love page on AllPaintingsStore provides detailed information about the painting. The Pleasures of Love by Jean Antoine Watteau Discovering the Doddington Hall Art Museum in Lincoln, United States
Classification
Rococo75 · 1711–1792
Rococo Style8 · 1715–1775
Rococo Portraiture3 · 1752–1767
Rococo Elegance4 · 1724–1753
Baroque Rococo1 · 1760–1760
Rococo Satire2 · 1738–1754
Collections
Of the 100 works, 17 are held in London, including 13 at the The Louvre.
National Gallery
Artists cited
1684–1721 · France · 15
French Rococo painter of dreamlike fêtes galantes and theatrical scenes with feathery brushwork.
2. Embarkation for Cythera, 5. Gilles, 7. Pierrot, 13. Pierrot Content, 14. Party of Four, 16. The Love Lesson, 23. The French Comedy, 26. The Pleasures of LIfe, 43. Fêtes Vénitiennes, 50. Jupiter and Antiope, 52. The Festival of Love, 72. Pilgrimage to Cythera, 81. Meeting in the Open Air, 85. Pleasures of the Ball, 100. The Pleasures of Love
1703–1770 · France · 10
French Rococo painter of luminous, pastel mythological scenes and elegant, idealized landscapes.
12. Song of the Angels, 15. The Setting of the Sun, 17. The Rape of Europa, 28. Diana getting out of her bath, 35. The Love Letter, 51. The Toilet of Venus, 53. The Interrupted Sleep, 66. Madame de Pompadour, 78. Portrait of Marquise de Pompadour, 86. Nude on a Sofa
1732–1806 · France · 9
French Rococo painter of playful, sensual scenes rendered with luminous, rapid brushwork.
3. The Swing_, 4. A Young Girl Reading, 22. The Stolen Kiss, 27. The Swing, 36. Young Woman Playing with a Dog, 45. The Grand Cascade at Tivoli, 54. The Souvenir, 77. The Fountain of Love, 82. Diana and Endymion
1727–1788 · United Kingdom · 8
British Rococo painter of elegant portraits and landscapes with fluid, restless brushstrokes.
1. The Blue Boy (Jonathan Buttall), 10. Mr. and Mrs. Andrews, 31. Susan Murrill (1717–1794), Mrs Henry Hill, 44. Cornard Wood, 47. The Gravenor Family, 65. Portrait of a Lady in Blue, 87. Robert Andrews and His Wife Frances, 90. Pomeranian Bitch & Pup
1697–1764 · United Kingdom · 7
British satirist known for modern moral subjects and biting narrative engravings of London life.
20. The Four Times of Day: Night, 46. Canvassing for Votes, 49. The Suicide of the Countess, 75. Scene in a tavern, 80. Self-Portrait with Pug-Dog, 83. Rake's Progress' the Gaming House, 88. Sarah Malcolm in Prison
1699–1779 · France · 6
French painter of quiet domestic scenes and still lifes rendered with tactile, granular impasto.
9. The Young Schoolmistress, 32. Saying Grace, 48. The Young Draughtsman, 76. The Attributes of Painting and Sculpture, 79. Soap Bubbles, 84. Still Life with Two Rabbits
1723–1792 · United Kingdom · 3
British portraitist and Royal Academy founder known for his dignified Grand Style of painting.
8. Miss Bowles, 67. John Murray, 4th Earl of Dunmore, 73. Lady Delm and her Children
Notes
Hover over an entry to display the answer.
Thomas Gainsborough's The Blue Boy (Jonathan Buttall) (1770, Henry E. Huntington Library) is the most famous Rococo painting and No. 1 of this ranking, ahead of Jean-Antoine Watteau's Embarkation for Cythera (1717, The Louvre), Jean-Honoré Fragonard's The Swing_ (1767, Wallace Collection) and Jean-Honoré Fragonard's A Young Girl Reading (1769, National Gallery of Art).
The 10 most famous Rococo paintings are The Blue Boy (Jonathan Buttall) (Thomas Gainsborough), Embarkation for Cythera (Jean-Antoine Watteau), The Swing_ (Jean-Honoré Fragonard), A Young Girl Reading (Jean-Honoré Fragonard), Gilles (Jean-Antoine Watteau), An Experiment on a Bird in the Air Pump (Joseph Wright of Derby), Pierrot (Jean-Antoine Watteau), Miss Bowles (Joshua Reynolds), The Young Schoolmistress (Jean-Baptiste-Siméon Chardin) and Mr. and Mrs. Andrews (Thomas Gainsborough).
Jean-Antoine Watteau leads the ranking with 15 of the 100 paintings, including Embarkation for Cythera, Gilles and Pierrot.
Ranked by the number of their works among the 100 most famous Rococo paintings: Jean-Antoine Watteau (15), François Boucher (10), Jean-Honoré Fragonard (9), Thomas Gainsborough (8) and William Hogarth (7).
With 13 of the 100, the The Louvre comes first, followed by the National Gallery (6) and the Wallace Collection (5); London has 17 in all.
Most of them are in London (17), Paris (14) and Washington (4). The museums with the most are the The Louvre, the National Gallery and the Wallace Collection.
91 of the 100 are oil paintings, 0 use tempera and 0 are frescoes; 2 are painted on wood and 82 on canvas.
Donato Creti's Astronomical Observations. Mars (1711), dated 1711. The most recent is Élisabeth Louise Vigée Le Brun's Portrait of a Woman (1803, National Museum of Women in the Arts), dated 1803.
The biggest is Jean-Antoine Watteau's The Love Lesson (1715–1717, Nationalmuseum) at 610 × 440 cm; the smallest, Jean-Honoré Fragonard's The Souvenir (1775, Wallace Collection) at 25 × 19 cm.
Each painting is ranked by how widely it is known: the number of Wikipedia language editions with an article on it (Wikidata sitelinks), its place in our catalogue's manual ranking and the visits its page receives. The same painting catalogued several times counts once, and details, copies and studies are left out.
Yes: 100 of the 100 can be ordered as a hand-painted oil reproduction, from $177, and 100 as a canvas print, from $42.
Reproductions
Hand-painted reproductions of 100 works in this list are available from $177.
Scope: the Rococo paintings recorded in the WikiOO.org catalogue. Order: how well known each painting is, measured three ways — the number of Wikipedia language editions with an article on it, its editorial rank and the visits to its page. A work recorded several times is counted once; details, copies and studies are excluded.
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