For the interior decoration he invited fashionable painters of the time - Lemoyne, his disciple Boucher, Watteau and his disciple Lancret and last but not least Jean-Baptiste Oudry.
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Highlights include the "Watteau" wing and its recently discovered frescoes, Richelieu's bed chamber, the magnificent "trompe-l'œil" effects of Servandoni, the "little private apartments" and the outstanding drawing room decorated by Oudry.
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Its sumptuous 17th and 18th century interiors were created by the most prestigious artists (Watteau, Boucher, Oudry, Servandoni and others) at the behest of the Princes of Savoy and then the Marquis de la Faye.
The gallery exhibited originals and copies of works by European masters such as Titian, Rembrandt, Watteau, and David, and a few American artists, such as Thomas Sully, Gilbert Stuart, Samuel F.B. Morse, Rembrandt Peale, and William Dunlap.
A favored method of Watteau and other 17th- and 18th-century artists of the Baroque and Rococo era was to start with a colored ground of tone halfway between white and black, and to add shade in black and highlights in white, using pen and ink or "crayon".
To the bourgeois establishment, the works of Chardin now represented a salutary contrast to the decadent aristocratic flimsy of Watteau.
Edme-François Gersaint, for whom Watteau painted L'Enseigne de Gersaint as a shop sign had premises, following an old tradition, in a house on the Pont Notre-Dame.