Portrait of William Artaud

The 13 Most Famous William Artaud Paintings, a Gallery Selection

Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 13 works by William Artaud in our catalogue

In short

Of all the originals William Artaud left, the most famous is The Disguised Children, called The Attire (1790), in the collection of the Musée Cognacq-Jay, Paris. Close behind it come Portrait of Two Young Girls, known as Les Gâteaux (1790) and 'The Triumph of Mercy,' from Collins' 'Ode To Mercy' (1789). Our catalog holds 13 works by William Artaud; the gallery has kept the 13 the world admires most, each shown with its date, its museum and its story.

1763 – 1823 Most works: Musée Cognacq-Jay

William Artaud's top 10 paintings: the gallery's choice

1
The Disguised Children, called The Attire (1790) by William Artaud

The Disguised Children, called The Attire

1790 · Oil · Musée Cognacq-Jay, Paris

Two small figures occupy a quiet, shadowed room, caught in a moment of theatrical stillness. A young girl stands in the foreground, her presence defined by the luminous white of her dress and the heavy, deep blue of a voluminous cloak. The dark fur trim of her garment catches the light, creating a tactile contrast against the smooth, porcelain texture of her skin. Beside her, a young boy sits, his…

2
Portrait of Two Young Girls, known as Les Gâteaux (1790) by William Artaud

Portrait of Two Young Girls, known as Les Gâteaux

1790 · Oil On Canvas · Musée Cognacq-Jay, Paris

The work before us is titled Portrait of Two Young Girls, known as Les Gâteaux. It is a painting by William Artaud, an artist who lived and worked in London from his birth in 1763 until his death in 1823. This particular piece was executed vers 1790 — 1799, a period during which Artaud was establishing his presence within the British art scene.

3
'The Triumph of Mercy,' from Collins' 'Ode To Mercy' (1789) by William Artaud

'The Triumph of Mercy,' from Collins' 'Ode To Mercy'

1789 · Oil · Yale Center for British Art, New Haven

A male figure sits encased in golden armor, his body a study of tension and anatomical precision. He is seated within a chariot, a vessel of movement caught in a moment of sudden, kinetic energy. A winged female figure pulls him forward, her drapery caught in the slipstream of their progress. The scene is a surge of motion, a Neoclassical procession where the weight of the metal meets the lightness…

The William Artaud selection continues, 11 to 13

The subjects that held William Artaud's eye

The four subjects that come back most often in these originals, each with its finest example.

The museums that keep William Artaud's originals

The 8 museums that hold the most of the paintings on this page.

Museum City Works by William Artaud Paintings from this list
Musée Cognacq-Jay, ParisMusée Cognacq-Jay Paris 2 The Disguised Children, called The Attire, Portrait of Two Young Girls, known as Les Gâteaux
National Trust, WarwickNational Trust Warwick 2 The Reverend John Hammond Lucy III (1734–1823), Maria Lane (1758–1844), Mrs John Hammond Lucy
Yale Center for British Art, New HavenYale Center for British Art New Haven 1 'The Triumph of Mercy,' from Collins' 'Ode To Mercy'
Art Institute of Chicago, ChicagoArt Institute of Chicago Chicago 1 The Woman Accused of Adultery
Nottingham Castle Museum And Art Gallery, NottinghamNottingham Castle Museum And Art Gallery Nottingham 1 George Coldham, Town Clerk of Nottingham
Government Art Collection, LondonGovernment Art Collection London 1 Boy in Green
New Walk Museum - Art Gallery, LeicesterNew Walk Museum - Art Gallery Leicester 1 Portrait of a Lady
National Maritime Museum, LondonNational Maritime Museum London 1 Sir William Herschel (1738–1822)

William Artaud decade by decade: the original that defines each

Works per decade

Pick a decade to see the original that defines it.

Collectors' questions about William Artaud's paintings

Which work is William Artaud most famous for?Reveal the answer

The Disguised Children, called The Attire (1790), Musée Cognacq-Jay, Paris. Portrait of Two Young Girls, known as Les Gâteaux (1790) and 'The Triumph of Mercy,' from Collins' 'Ode To Mercy' (1789) come next.

What age was William Artaud when The Disguised Children, called The Attire was made?Reveal the answer

27 years old: The Disguised Children, called The Attire dates from 1790, and William Artaud was born in 1763.

What are the ten most famous William Artaud paintings?Reveal the answer

The Disguised Children, called The Attire, Portrait of Two Young Girls, known as Les Gâteaux, 'The Triumph of Mercy,' from Collins' 'Ode To Mercy', The Woman Accused of Adultery, Dr Samuel Parr (1747–1825), DD, Portrait of a Lady of the Herrick Family, George Coldham, Town Clerk of Nottingham, Boy in Green, Portrait of a Lady and Sir William Herschel (1738–1822). The ranking above gives each one's year and museum.

How many paintings did William Artaud leave?Reveal the answer

Our catalog holds 13 works by William Artaud, dated from 1789 to 1820.

In which museums do William Artaud's masterpieces hang?Reveal the answer

Mostly in Musée Cognacq-Jay (Paris), National Trust (Warwick) and Yale Center for British Art (New Haven). The museum table above lists them all.

In which years did William Artaud paint the most famous works?Reveal the answer

In 1790s: 3 of the 13 works on this page were made then, The Disguised Children, called The Attire among them.

What are the first and the last famous originals of William Artaud?Reveal the answer

On this page, the earliest is 'The Triumph of Mercy,' from Collins' 'Ode To Mercy' (1789) and the latest Sir William Herschel (1738–1822) (1820).

Which subjects did William Artaud choose most often?Reveal the answer

Man (2) and Woman (2), across the 13 works on this page.

Which technique did William Artaud use most?Reveal the answer

Oil, for 2 of the 13 works on this page.

Which William Artaud works hang at the Musée Cognacq-Jay?Reveal the answer

The Disguised Children, called The Attire and Portrait of Two Young Girls, known as Les Gâteaux: the Musée Cognacq-Jay, Paris holds 2 of the works on this page.

William Artaud: life and work

Early Life and Artistic Beginnings

William Artaud, born in 1763, emerged during a period of significant artistic transition in England. While details surrounding his earliest years remain somewhat elusive, we know he first exhibited at the Royal Academy in 1786, signaling an early commitment to establishing himself within the established art world. This initial foray into public display suggests a degree of formal training and ambition. The following decade proved pivotal; Artaud embarked on a travelling studentship in 1795, a common practice for aspiring artists seeking to broaden their horizons through exposure to continental masters and diverse artistic traditions. Though the specifics of his travels are not fully documented, it’s reasonable to assume this period profoundly shaped his developing style and subject matter. He was quickly gaining recognition as a portraitist, a genre that offered both financial stability and opportunities for social engagement.

A Portraitist of Prominent Figures

Artaud rapidly distinguished himself as a skilled and sought-after portrait painter. His clientele read like a roll call of the leading intellectual and scientific minds of his era. He captured the likenesses of figures such as Francesco Bartolozzi, the renowned engraver; Samuel Parr, a celebrated scholar whose wit and learning attracted considerable attention; Joseph Priestley, the pioneering chemist and Unitarian minister; and, notably, William Herschel, the astronomer who discovered Uranus. These were not merely commissions to record physical appearances; Artaud’s portraits aimed to convey something of his sitters' character and intellectual presence. Samuel Redgrave, a later art historian, observed that Artaud’s work possessed “individuality of character” and was executed with “great power,” though he also noted a certain lack of emotional expression – a characteristic perhaps reflective of the prevailing neoclassical aesthetic. The fact that his portraits were often destined for reproduction as engravings further suggests an emphasis on clarity and precision in his technique, qualities essential for successful translation into print.

Biblical Subjects and Engraved Works

Beyond portraiture, Artaud also turned his attention to biblical scenes, a genre that allowed him to explore narrative composition and dramatic lighting. A significant aspect of his career was the collaboration with John Macklin, whose ambitious project aimed to create an illustrated edition of the Bible. Artaud contributed several paintings for this endeavor, which were then expertly engraved by leading artists of the time. This involvement highlights a key facet of artistic production in the late 18th and early 19th centuries: the close relationship between painting, engraving, and print culture. The engravings after his biblical subjects broadened his reach considerably, making his work accessible to a wider audience beyond those who could afford original paintings. Georg Kasper Nagler’s “New General Dictionary of Artists” provides a valuable record of these engraved works, demonstrating the extent of Artaud's contribution to this popular project.

Later Years and Legacy

Artaud continued to exhibit at the Royal Academy until 1822, marking over three decades of consistent engagement with the artistic community. However, information regarding his later life is sparse. The precise date of his death remains unknown, leaving a degree of mystery surrounding the final years of his career. Despite this lack of biographical detail, Artaud’s legacy rests firmly on the quality and significance of his portraits. He captured an important moment in British history, documenting the faces of those who were shaping the intellectual landscape of their time. His work offers valuable insights into the artistic conventions of the Georgian era, as well as a glimpse into the personalities and aspirations of his distinguished sitters. While perhaps not a household name today, William Artaud occupies an important niche in the history of British portraiture, representing a skilled craftsman who successfully navigated the complexities of patronage, reproduction, and public exhibition.