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Antoine Watteau, Study of a Standing Dancer with an Outstretched Arm, ca. 1710, black and red chalk, heightened with white, on grey-brown paper, Rotterdam, Museum Boijmans Van Beuningen.
This is one of many studies Watteau produced “a trois crayons” ( with three chalks), red or sanguine, black, and white, usually on a paper in a mid-tone such as grey, blue, or beige/brown. The technique had been pioneered and popularised by Rubens in the previous century.
Antoine Watteau, The Old Savoyard, ca. 1715, red and black chalk, with stumping, on buff laid paper, laid down on cream wove card, laid down on cream board, Chicago, Art Institute of Chicago.
Francois Boucher, Aurora, ca. 1733, red and white chalk on brown laid paper, with later framing line in brown ink on paper, Washington D.C., The National Gallery of Art.
Francois Boucher, The Pasha in His Harem, ca. 1735-1739, pen, ink, brush, grey wash, watercolour on paper, Vienna, Albertina.
Nicolas Lancret, Studies of a Couple Seated on the Ground, Looking at a Songbook, ca. 1740, red, black, and white chalk on light gray-brown paper, New York, The Metropolitan Museum of Art.
Jean-Honoré Fragonard, Cypress Avenue at the Villa d`Este in Tivoli, 1774, brush in and brown ink, wash, over black-chalk preparatory drawing, Vienna, The Albertina.
Jean-Baptiste Oudry, Still-life with Fish and Parrot, 1740, black, white chalk on blue laid paper, New York, The Cooper Hewitt, Smithsonian Design Museum.
Attributed to Jean Siméon Chardin, Cat Surveying Fish and Fowl on a Table, 1753, black chalk on paper, New York, The Metropolitan Museum of Art.
Jean-Honoré Fragonard, The Supper at Emmaus, ca. 1760-61, black chalk on ivory laid paper, laid down on off-white laid paper, Chicago, Art Institute of Chicago.
Fragonard produced this after seeing Caravaggio’s famous painting while visiting Rome.
Jean-Honoré Fragonard, The Inspiration of the Artist, ca. 1760-65, pen and brown ink and wash over black chalk, Private Collection.
Jean-Baptiste Greuze, Head of an Old Woman Looking Up, ca. 1763, red chalk on paper, New York, The Metropolitan Museum of Art.
Jean-Honoré Fragonard, The Useless Resistance, ca. 1770-73, brush and washes over chalk underdrawing, watercolour, and opaque watercolour on paper, Philadelphia, Philadelphia Museum of Art.
Elisabeth Vigée-Lebrun, Portrait of a Young Girl, 1771, pastel on blue paper, Private Collection.
Jean-Baptiste Oudry, Still-life with Fish and Parrot, 1740, black, white chalk on blue laid paper, New York, The Cooper Hewitt, Smithsonian Design Museum.
Jacques-Louis David, Study for the Oath of the Horatii: Sabina, 1783, black chalk and white highlights on paper, Angers, Musée des Beaux-Arts.
Jacques-Louis David, The Grief of Andromache, ca. 1782, black chalk, pen and ink with grey wash, France, Petit Palais
Adélaïde Labille-Guiard, Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), 1789, red, black, and white chalk on toned laid paper, New York, The Metropolitan Museum of Art.