Floor plan

Time and placeThe 18th century

The 18th century

The image shows a pheasant with vivid green and blue plumage and intricate golden patterns on its wings. The bird has long, patterned tail feathers extended to the right. The background includes palm trees, rocky outcrops, and distant hills.
Mary Walton Morris, by John Wollaston, 1749/1752
Yamauba and Kintarō Playing with a Cherry, by Kitagawa Utamaro, ca. 1795
Artist: Charles Willson Peale, Sitter: Charles Willson Peale, Current owner: National Portrait Gallery, Smithsonian Institution
A work made of hand-colored woodblock print; toku-oban, urushi-e.
A work made of color woodblock print; oban.
View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
Lindisfarne Castle, Holy Island, Northumberland, by Thomas Girtin, 1796–97

The works in this room are listed below.

Works in this room

Works made in the 18th century, anywhere in the world.

First room, north wall

  1. The image shows a pheasant with vivid green and blue plumage and intricate golden patterns on its wings. The bird has long, patterned tail feathers extended to the right. The background includes palm trees, rocky outcrops, and distant hills.
    Phasianus VersicolorWilliam Home LizarsCourtesy National Gallery of Art, Washington
  2. Mary Walton Morris, by John Wollaston, 1749/1752
    Mary Walton MorrisJohn Wollaston, 1749/1752Courtesy National Gallery of Art, Washington
  3. Yamauba and Kintarō Playing with a Cherry, by Kitagawa Utamaro, ca. 1795
    Yamauba and Kintarō Playing with a CherryKitagawa Utamaro, ca. 1795Courtesy of The Metropolitan Museum of Art
  4. Artist: Charles Willson Peale, Sitter: Charles Willson Peale, Current owner: National Portrait Gallery, Smithsonian Institution
    Charles Willson Peale Self-PortraitCharles Willson Peale, c. 1791Courtesy of the National Portrait Gallery, Smithsonian Institution

First room, south wall

  1. A work made of hand-colored woodblock print; toku-oban, urushi-e.
    Courtesan Reading a LetterIshikawa Toyonobu, c. 1745Courtesy of the Art Institute of Chicago
  2. A work made of color woodblock print; oban.
    Osumi, a Tayu of the Tsuchiya in the Shinmachi Quarter in OsakaEishosai Choki, c. 1796/97Courtesy of the Art Institute of Chicago
  3. View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
    View of RomePierre Henri de Valenciennes, c. 1782–84Courtesy of the Cleveland Museum of Art
  4. Lindisfarne Castle, Holy Island, Northumberland, by Thomas Girtin, 1796–97
    Lindisfarne Castle, Holy Island, NorthumberlandThomas Girtin, 1796–97Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. A Lady Playing the Tanpura, ca. 1735
    A Lady Playing the TanpuraUnrecorded Indian maker, ca. 1735Courtesy of The Metropolitan Museum of Art
  2. A work made of oil on canvas.
    Are They Thinking about the Grape? (Pensent-ils au raisin?)François Boucher, 1747Courtesy of the Art Institute of Chicago
  3. A work made of color woodblock print; surimono.
    Three Types of ChrysanthemumsKitao Shigemasa, c. 1790Courtesy of the Art Institute of Chicago
  4. The image depicts a group of people in varying poses and outfits. A central figure, possibly a child, is being held up by a man. Those around them are positioned differently, some standing closely. The figures have detailed faces and wear garments resembling classical attire. Shields and banners decorated with symbols are present in the background. Armor and helmets are scattered on the ground. Trees and a group of people in the distance are part of the background.
    Ancient TeutonsDaniel Nikolaus Chodowiecki, 1782Courtesy National Gallery of Art, Washington

Second room, north wall

  1. The image shows an etching of a forest scene with towering trees dominating the upper half. The horizon is not clearly visible due to dense foliage, but a line of trees and rocky outcrops in the distance provide a boundary. The fine lines and cross-hatching technique create detailed textures in the tree bark and foliage. The color palette is monochromatic, in shades of black and white emphasizing light and shadow. A large tree with a partially hollow trunk and figures scattered throughout the scene give a sense of scale and activity within the forest setting.
    Wooded Landscape with a Nymph and a SatyrSalomon Gessner, 1764Courtesy National Gallery of Art, Washington
  2. Artist: Charles Willson Peale, Sitter: Richard Henry Lee, Current owner: National Portrait Gallery, Smithsonian Institution
    Richard Henry LeeCharles Willson Peale, c. 1795-1805Courtesy of the National Portrait Gallery, Smithsonian Institution
  3. A work made of color woodblock print; chuban.
    Delaying the announcement of dawnSuzuki Harunobu, c. 1767/68Courtesy of the Art Institute of Chicago
  4. A woman with pale skin, wearing a silvery-gray dress adorned with white ribbons and light pink roses, stands looking out at us with a small, pug dog by her feet in this vertical portrait painting. The woman’s body is angled slightly to our right but she looks at us with dark eyes under faint, arched brows. Her nose is rounded, her cheeks smooth and flushed, and her pale pink lips are closed. Her face is framed in a cloud of nickel-gray hair, and tendrils curl down over her shoulders. She wears a wide-brimmed straw hat with a white ribbon set on the back of her head and slightly off to one side. The bodice of her dress has a low, curving neck. This area is loosely painted to create the impression of layers of lace. A band of intertwined pale pink roses and delicate green leaves borders the outer edge of the lace. The dress has long, tight sleeves with lace at the cuffs and the notably narrow waist is tied with a blush-pink ribbon. The full, silver skirt is picked up to create a row of puffs, like the top of a muffin, around her knees. Bunches of pink roses and white ribbons are nestled into the puffs, and below, the skirt falls in long, vertical pleats to her ankles. She wears white stockings and pointed, petal-pink shoes. In her left arm, on our right, she holds a closed fan loosely at her side, almost lost behind the skirt. She holds a pink carnation with a full bloom and a bud on a long, curving stem in her other hand, by her hip. A caramel-brown pug with a black face, wearing a pink collar lined with three bells, stands facing us with one front paw lifted, to our right of the woman's feet. The landscape is painted in tones of mint and sage green for grass beneath trees enclosing the space the woman stands in, sand brown for the ground, and icy blue for the sky above.
    The Marquesa de PontejosFrancisco Goya, c. 1786Courtesy National Gallery of Art, Washington