It follows models of Nicolas Lancret, second third of the 18th century.

French school of the second third of the 18th century.
It follows models of NICOLAS LANCRET (Paris, 1690 - 1743).
"The four ages of man: old age".
Oil on canvas.
Relined.
French frame of the second third of the nineteenth century.
Measurements: 88 x 111 cm; 113 x 136 x 8 cm (frame).

The painting is based on the homonymous painting by Nicolas Lancret preserved in the National Gallery. It is a contemporary copy, of quality, and respects the choice of a palette of restrained tones that accentuate the sobriety of the motif. The light, diffuse and warm, avoids violent hallmarks and contributes to the sense of stillness.

The scene places us in a sunny courtyard with a rural air, probably in a small village setting, where a group of elderly people share a moment of calm. In the background, a light building of simple architecture serves as a backdrop, while a large tree casts its shadow, filtering the sunlight and enveloping the composition in a peaceful atmosphere. The palette is of restrained tones, which accentuate the sobriety of the motif.

The figures, depicted with a meticulous and sensitive technique, show the mark of the passing of the years: the weathered faces, the slightly bent bodies, the worn fabrics that still preserve a simple elegance. A frail old man is accompanied by a small dog, symbol of loyalty and companionship; a woman, concentrating on spinning, embodies the perseverance of daily work; another couple, in which one of the men leans on his cane, reflects the inevitable dependence of age. The presence of a younger woman, dressed in brighter tones, introduces a visual and thematic counterpoint: her close gesture towards the elders suggests the continuity between generations and the permanence of emotional ties.

The simple objects (a spinning wheel, a modest table) anchor the scene in everyday life and give veracity to the pictorial story. However, the work transcends the anecdotal: beyond documenting a domestic instant, it becomes a poetic reflection on the life cycle. In fact, the spinner herself becomes an allegorical figure of the passage of time.

Nicolas Lancret was known, above all, for his works with a light comic theme that reflected the customs and tastes of the French high society of his time. He first studied with Pierre d`Ulin, but his admiration for Watteau led him to leave his master to train under Gillot (Watteau`s disciple), studying with him between 1712 and 1713. His fame grew since he showed in the Place Dauphine two works, giving basis to the fortune he would obtain and which, at the time, were thought to be by Watteau. Appointed an academician in 1718 in Paris, from then on he became an artist who aroused great respect, especially among Watteau's admirers. He worked on works for the Palace of Versailles, and his style was very popular with the reign of Frederick the Great in Prussia. He completed a lot of painting, with a significant proportion of engravings. He also painted portraits and worked on historical subjects, but his favorites (and those of the public as well) were those of inconsequential subjects such as dances, fairs, weddings in villages..., typical of the Rococo style in this subject and in the style with which he painted them, very similar to Watteau. His work is preserved in numerous private collections around the world and in institutions such as the National Gallery of London, the Musée Condé, the Thyssen-Bormemisza Museum in Madrid, the Getty Museum, etc.