[2] However, he left at the age of eighteen and again went to England, where he was befriended and employed by Sir Peter Lely for four years at Windsor, Berkshire.

James II offered Largillière the office of keeper of the royal collections, but he declined due to being uneasy about Rye House Plot.

However, during a short stay in London, he painted portraits of the king, the queen Mary of Modena, and the prince of Wales James Francis Edward Stuart.

King James is portrayed in golden armor with a white cravat and is positioned in front of a watercolour-like background set in a round frame.

[4] The portrait shows Le Brun, then the chairman of the academy, at work on an entombment, surrounded by classical busts and figurines scattered upon the floor and table within the picture.

In 1693, Largillière painted the Governor of Arras, Pierre de Montesquiou, to celebrate his promotion to brigadier in 1691.

Following the death of directeur Louis de Boullogne on 28 November 1733, the painter Hyacinthe Rigaud proposed that the four rectors of the Académie, Largillière, Claude-Guy Hallé, Guillaume Coustou, and himself, rotate the post.

[8] Towards the end of his life, Largillière painted a repetition of anonymous male portraits of Parisian nobles.

Another portrait from about 1715 shows a frontal three quarter view of a man dressed in similar clothes and wig with a Doric column in the background.

Jean-Baptiste Oudry and Jacob van Schuppen, Largillière's pupil and nephew respectively, were also rococo painters.