Floor plan

West wing: Old MastersBaroque and Rococo

Baroque and Rococo

Danaë, by Orazio Gentileschi, c. 1623
Study for "The Martyrdom of Saint Sebastian" (for the Augustinian monastery at Diessen, Germany), by Giovanni Battista Tiepolo, 1739
A work made of etching on ivory laid paper.
The image displays an oval portrait of a man's upper torso. He is turned slightly to the right, looking directly at the viewer with a composed expression. The man has pale skin, defined facial features, softly arched eyebrows, a subtle mustache, and styled hair in an 18th-century fashion. He wears a blue coat with white lapels, silver buttons, and a silver-fringed epaulet on the shoulder, along with a cravat and waistcoat. The background is a smooth, neutral gray.
Sketch for a Ceiling, by Giovanni Battista Tiepolo, 1750s
A work made of etching in black on tan laid paper.

The works in this room are listed below.

Works in this room

Drama, movement and deep shadow in the 1600s, then the light, playful decoration of eighteenth-century Europe.

First room, north wall

  1. Danaë, by Orazio Gentileschi, c. 1623
    DanaëOrazio Gentileschi, c. 1623Courtesy of the Cleveland Museum of Art
  2. Study for "The Martyrdom of Saint Sebastian" (for the Augustinian monastery at Diessen, Germany), by Giovanni Battista Tiepolo, 1739
    Study for "The Martyrdom of Saint Sebastian" (for the Augustinian monastery at Diessen, Germany)Giovanni Battista Tiepolo, 1739Courtesy of the Cleveland Museum of Art

First room, south wall

  1. A work made of etching on ivory laid paper.
    View of the Villa of His Eminence Cardinal Alessandro Albani, outside Porta Salaria, from Views of RomeGiovanni Battista Piranesi, 1769, published 1800–07Courtesy of the Art Institute of Chicago
  2. The image displays an oval portrait of a man's upper torso. He is turned slightly to the right, looking directly at the viewer with a composed expression. The man has pale skin, defined facial features, softly arched eyebrows, a subtle mustache, and styled hair in an 18th-century fashion. He wears a blue coat with white lapels, silver buttons, and a silver-fringed epaulet on the shoulder, along with a cravat and waistcoat. The background is a smooth, neutral gray.
    Portrait of a Man in a Military UniformUnrecorded French maker, 18th centuryCourtesy National Gallery of Art, Washington
  3. Sketch for a Ceiling, by Giovanni Battista Tiepolo, 1750s
    Sketch for a CeilingGiovanni Battista Tiepolo, 1750sCourtesy of the Cleveland Museum of Art
  4. A work made of etching in black on tan laid paper.
    The Holy FamilyGiulio Cesare Procaccini, 1613/15Courtesy of the Art Institute of Chicago

Second room, south wall

  1. The Supper at Emmaus, by Giovanni Battista Piazzetta, c. 1720
    The Supper at EmmausGiovanni Battista Piazzetta, c. 1720Courtesy of the Cleveland Museum of Art
  2. Drawing of god, radiating light, reaching down from clouds, touching male figure.
    The Creation of AdamGiovanni Benedetto Castiglione, c. 1645/50Courtesy of the Art Institute of Chicago

Second room, north wall

  1. Adoration of the Magi, by Guido Reni, 1642
    Adoration of the MagiGuido Reni, 1642Courtesy of the Cleveland Museum of Art
  2. Large painting of soldier asleep outdoors surrounded by two women and a cupid.
    Armida Encounters the Sleeping RinaldoGiovanni Battista Tiepolo, c. 1742–45Courtesy of the Art Institute of Chicago

Third room, north wall

  1. Tobias and the Angel, by Francesco Guardi, 1750s
    Tobias and the AngelFrancesco Guardi, 1750sCourtesy of the Cleveland Museum of Art
  2. A work made of black chalk with pen and brown ink on cream laid paper.
    Putto Holding StaffGuido Reni, n.d.Courtesy of the Art Institute of Chicago
  3. A work made of pen and brown ink and brush and brown wash, over graphite, on cream laid paper laid down on off-white laid paper.
    Antique Carved Marble Candelabra BaseAndrea di Lione, 1642/44 or 1647/51Courtesy of the Art Institute of Chicago
  4. A work made of etching in black on cream laid paper.
    Saint Jerome and a Pope with Two Putti (Saint Jerome and Pope Damasus)Jacopo Palma il Giovane, c. 1611Courtesy of the Art Institute of Chicago

Third room, south wall

  1. A work made of chiaroscuro woodcut, from three blocks in pink, dark blue, and light blue, on cream laid paper.
    The Old ShepherdConte Antonio Maria Zanetti, the Elder, 1722Courtesy of the Art Institute of Chicago
  2. The Sacrifice of Isaac, by Francesco Guardi, 1750s
    The Sacrifice of IsaacFrancesco Guardi, 1750sCourtesy of the Cleveland Museum of Art