Who painted A Stage Set with a Statue and a Palace?

A Stage Set with a Statue and a Palace was painted by Daniel the Younger Marot in 1734.

Where can I see A Stage Set with a Statue and a Palace?

A Stage Set with a Statue and a Palace is held by National Gallery of Art.

What movement is A Stage Set with a Statue and a Palace?

A Stage Set with a Statue and a Palace is associated with Baroque.

Can I buy a print of A Stage Set with a Statue and a Palace?

Museum-quality prints of A Stage Set with a Statue and a Palace are available made-to-order from Artifact World Gallery.

Artwork

A Stage Set with a Statue and a Palace

Daniel the Younger Marot , 1734

A Stage Set with a Statue and a Palace is an ink drawing by the Baroque artist Daniel the Younger Marot. It dates from 1734 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:by later hand, upper right verso in graphite: 53 (circled); by later hand, center right verso in graphite: Eight [Not Deciphered] / sold on [Not Deciphered]; by later hand, lower left verso in graphite: [Not Deciphered]; by later hand, lower right verso in graphite: 67 (underlined)

About this work

Overview

A Stage Set with a Statue and a Palace is a drawing executed around 1734 by the French Baroque designer Daniel the Younger Marot. Rendered on laid paper, the composition presents an imagined theatrical backdrop that combines architectural elements with a sculptural figure, reflecting the artist’s involvement in stage design and decorative projects.

Technique & Style

Marot employed a combination of fine pen work, dense black ink, and subtle gray wash to model depth and atmosphere on the paper surface. The linear precision of the drawing, coupled with the soft tonal gradations of the wash, exemplifies the Baroque interest in dramatic perspective and the illusion of three‑dimensional space within a two‑dimensional medium.

History & Provenance

The drawing entered the collection of the National Gallery of Art in Washington, where it is presently conserved. Its acquisition records trace the work back to early twentieth‑century European art dealers, confirming its attribution to Daniel the Younger and its dating to the mid‑1730s.

Context

Created during a period when Marot was active in designing sets for court spectacles, the piece illustrates the integration of architectural fantasy and sculptural motifs typical of Baroque theatrical productions. Such designs were intended to enhance the visual impact of performances, merging scenic architecture with narrative symbolism.