Who painted Figures Seated Around a Fountain?

Figures Seated Around a Fountain was painted by Jean-Baptiste Lallemand in 1755.

Where can I see Figures Seated Around a Fountain?

Figures Seated Around a Fountain is held by National Gallery of Art.

What movement is Figures Seated Around a Fountain?

Figures Seated Around a Fountain is associated with Romanticism.

Artwork

Figures Seated Around a Fountain

Jean-Baptiste Lallemand , 1755

Figures Seated Around a Fountain is a chalk drawing by the Romanticist artist Jean-Baptiste Lallemand. It dates from 1755 and is held in the collection of the National Gallery of Art.

About this work

Overview

Jean‑Baptiste Lallemand’s drawing, titled *Figures Seated Around a Fountain*, dates to around 1755. Executed in black chalk on laid paper, the work presents a brief, informal study of a small group gathered beside a water feature. The composition captures a fleeting moment, rendered in a light, spontaneous hand that emphasizes gesture over detail.

Subject & Meaning

The scene depicts four individuals interacting with a fountain in a park‑like setting. One figure is perched on the rim with legs hanging, another stands nearby clutching a hat, a third leans against the stone, and a fourth watches from a short distance. The arrangement suggests a leisurely social encounter, inviting viewers to imagine the conversation and atmosphere of an 18th‑century promenade.

Technique & Style

Lallemand employs loose, rapid strokes of black chalk, allowing the paper’s laid texture to remain visible. Subtle gradations of tone create a chiaroscuro effect, modeling the figures and the fountain’s form through light and shadow. The absence of color focuses attention on line quality and tonal contrast, while the sketchy handling conveys immediacy and movement.

History & Provenance

Created circa 1755, the drawing belongs to Lallemand’s early output, a period when he produced numerous preparatory studies for larger compositions. Its paper support and medium are typical of French academic practice in the mid‑18th century. The work’s later ownership and exhibition history remain undocumented, but it survives as a representative example of Lallemand’s draftsmanship.