Floor plan

West wing: Old MastersBaroque and Rococo

Baroque and Rococo

Study for "The Martyrdom of Saint Sebastian" (for the Augustinian monastery at Diessen, Germany), by Giovanni Battista Tiepolo, 1739
The Sacrifice of Isaac, by Francesco Guardi, 1750s
Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di Roma, by Giovanni Battista Nolli, 1748
A work made of oil on canvas.
ONE SET OF TROPHIES OF WEAPONS OF WAR AS A DECORATION FOR HORIZONTAL PANELS. INTENDED TO BE ENGRAVED
Tobias and the Angel, by Francesco Guardi, 1750s

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. 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
  2. The Sacrifice of Isaac, by Francesco Guardi, 1750s
    The Sacrifice of IsaacFrancesco Guardi, 1750sCourtesy of the Cleveland Museum of Art
  3. Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di Roma, by Giovanni Battista Nolli, 1748
    Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di RomaGiovanni Battista Nolli, 1748Courtesy of the Cleveland Museum of Art

First room, south wall

  1. A work made of oil on canvas.
    Jacopo ButeraFrancesco Solimena, c. 1695Courtesy of the Art Institute of Chicago
  2. ONE SET OF TROPHIES OF WEAPONS OF WAR AS A DECORATION FOR HORIZONTAL PANELS. INTENDED TO BE ENGRAVED
    One set of trophies of weapons of war as a decoration for horizontal panels. Intended to be engravedFrancesco Bedeschini, Italian, 1675-1699Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Tobias and the Angel, by Francesco Guardi, 1750s
    Tobias and the AngelFrancesco Guardi, 1750sCourtesy of the Cleveland Museum of Art

Second room, south wall

  1. A work made of etching on heavy ivory laid paper.
    View of the Remains of the Praetorian Fort [the Poecile], Hadrian's Villa, Tivoli, from Views of RomeGiovanni Battista Piranesi, 1770Courtesy of the Art Institute of Chicago
  2. Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di Roma, by Giovanni Battista Nolli, 1748
    Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di RomaGiovanni Battista Nolli, 1748Courtesy of the Cleveland Museum of Art
  3. A work made of etching on ivory laid paper.
    Equestrian Ballet in the Amphitheater of the Boboli GardensStefano della Bella, 1661Courtesy of the Art Institute of Chicago
  4. 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

Second room, north wall

  1. The Crucifixion of Saint Andrew, by Caravaggio, 1606–7
    The Crucifixion of Saint AndrewCaravaggio, 1606–7Courtesy of the Cleveland Museum of Art
  2. A work made of pen and brown ink and brush and brown ink wash on ivory laid paper.
    Holy Family with St. John and Two AngelsGiovanni Battista Tiepolo, n.d.Courtesy of the Art Institute of Chicago
  3. A work made of etching on ivory laid paper.
    The Grotto of Pan and FameStefano della Bella, 1653/55Courtesy of the Art Institute of Chicago

Third room, north wall

  1. A work made of pen and brown ink and brush and brown and gray wash, over black chalk, on ivory laid paper.
    Three Angels Appearing to AbrahamGiovanni Battista Tiepolo, c. 1726Courtesy of the Art Institute of Chicago
  2. A work made of etching in black on tan laid paper.
    The Holy FamilyGiulio Cesare Procaccini, 1613/15Courtesy of the Art Institute of Chicago
  3. A work made of etching in black on ivory laid paper.
    The Colossal Statue of the Apennines, from Views of Villa di PratolinoStefano della Bella, c. 1653Courtesy of the Art Institute of Chicago