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18th-century Britain

Works made in Britain in the 18th century.

42 works · hang 3361 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. A work made of red chalk on cream laid paper.
    Self-PortraitJohn Flaxman, c. 1779Courtesy of the Art Institute of Chicago
  2. The image depicts a portrait of an individual with the upper half of their body visible. The person is facing forward with their head slightly turned to the side, looking directly at the viewer. They have a fair complexion, with distinct facial features, including a rounded face and closed lips. The hair is styled in an 18th-century manner, with curls around the ears. They are wearing a dark coat with red lapels and brass buttons, over a white shirt with ruffled details. There are no visible jewelry or objects in their hands. The background is a textured, earth-toned surface.
    William PittGainsborough Dupont, 1787/1796Courtesy National Gallery of Art, Washington
  3. A work made of oil on canvas.
    Theophilia GwatkinJoshua Reynolds, 1776–81Courtesy of the Art Institute of Chicago
  4. From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
    Seashore with FishermenThomas Gainsborough, c. 1781/1782Courtesy National Gallery of Art, Washington

First room, south wall

  1. John Johnstone, Betty Johnstone, and Miss Wedderburn, by Sir Henry Raeburn, c. 1790/1795
    John Johnstone, Betty Johnstone, and Miss WedderburnSir Henry Raeburn, c. 1790/1795Courtesy National Gallery of Art, Washington
  2. Black, gray pastel portrait of man in a fur hat.
    Self-Portrait in a Fur CapJoseph Wright of Derby, 1765/68Courtesy of the Art Institute of Chicago
  3. Angel of the Revelation (Book of Revelation, chapter 10), by William Blake, ca. 1803–5
    Angel of the Revelation (Book of Revelation, chapter 10)William Blake, ca. 1803–5Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. Portrait of Catherine Grey, Lady Manners, by Thomas Lawrence, 1794
    Portrait of Catherine Grey, Lady MannersThomas Lawrence, 1794Courtesy of the Cleveland Museum of Art
  2. The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, by Johann Zoffany, c. 1772
    The Dutton Family in the Drawing Room of Sherborne Park, GloucestershireJohann Zoffany, c. 1772Courtesy of the Cleveland Museum of Art
  3. A work made of oil on canvas.
    Mr. Quick as Vellum in Addison's DrummerSamuel De Wilde, 1792Courtesy of the Art Institute of Chicago

Second room, north wall

  1. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    May, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago
  2. This painting is a full-length portrait of a woman with her body facing the right and her head turned toward us. She has light skin, curly gray hair, arched eyebrows, and a small mouth in a neutral expression. She wears an elegant light-colored dress with a large bow on the back and a large, dark, feathered hat, and she has a flower tucked in her arms, which also gather up some of her skirts. The background shows tall trees, with the edge of a wall visible in the upper-right corner. The color scheme of the painting is mostly olive-green, and everything has a green tint.
    Georgiana, Duchess of DevonshireGainsborough Dupont, c. 1787/1796Courtesy National Gallery of Art, Washington
  3. Small Landscape, ca. 1750-1800
    Small LandscapeUnrecorded British maker, ca. 1750-1800Courtesy of the Smithsonian American Art Museum
  4. A work made of varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again.
    Wooded Landscape with Village SceneThomas Gainsborough, early 1770s (not later than 1772)Courtesy of the Art Institute of Chicago

Third room, north wall

  1. A work made of pen and black ink, over traces of graphite, on tan wove paper, laid down on cream wove paper.
    Athena and the WindsJohn Flaxman, n.d.Courtesy of the Art Institute of Chicago
  2. A work made of oil on canvas.
    Sir Thomas Rumbold, Bt.Joshua Reynolds, 1788Courtesy of the Art Institute of Chicago