Floor plan

Style galleriesFrench classicism

French classicism

A work made of black chalk, with touches of white chalk, on cream laid paper.
Nymphs and a Satyr (Amor Vincit Omnia), by Nicolas Poussin, c. 1625–27
A work made of oil on canvas.
The image depicts a landscape viewed from a slightly elevated angle. On the left side, there is a large tree with a twisted trunk and dense foliage. A winding path can be seen with a figure walking with a dog. In the distance, a river winds through the land, and there are rolling hills and trees in the background. The color scheme is sepia-toned.
Portrait of Charlotte Duchesne, by Philippe de Champaigne, ca. 1628
An elderly woman sits on a small stool and four children stand along the foreground of a landscape with rolling, olive-green fields leading back to low, slate-gray mountains in this nearly square painting. The horizon comes about halfway up the painting, and the sky above is filled with a sheet of steel-gray clouds that break to reveal patches of ice-blue sky. Closest to us and along the left edge of the painting, the woman sits near a structure with a fragment of wall and a column that could be made from tan-colored stone. The woman faces our right in profile and looks at or toward three children gathered on a low hill to our right. Her lined face is partially cast in shadow by her white bonnet, but her skin is yellowed where the light falls across the side closer to us. A wide, white collar lies over the shoulders of her muted, plum-purple jacket, which is tied with a narrow red belt. Her hands rest in the lap of her full, moss-green skirt that falls to her feet and covers most of the stool. To our right, two boys and a little girl stand on a low hill. They all stand with their bodies angled to our right, and all have pale skin and brown hair. To our left in the trio, the young girl wears a royal-blue dress with brick-red, long sleeves and a wide, white collar, cuffs, and cap. Next to her, a slightly older boy wearing gray knee-britches, a honey-orange jacket with a white collar, and a blue tricorn hat looks down and plays a thin pipe. His jacket is torn at the elbows, revealing a red shirt beneath. To our right, the oldest boy wears a brown cloak over a gray jacket, tan trousers, and a tan brimmed hat. He holds his right arm, closer to us, across his chest as he touches an instrument nestled in the crook of his other elbow. Another bareheaded boy wearing a red shirt and blue trousers walks beyond this trio, holding a short pole over one shoulder and a brimmed hat in his other hand. He walks to our left and looks to the horizon. More people with sheep, cows, and a person on horseback dot the rolling fields that stretch back to low hills. One house sits next to a line of trees to the left of center, in the middle distance, and more buildings, including a church spire, cluster on the horizon to our right.
This image features intricately designed ornate letters of the alphabet surrounded by elaborate illustrations. The top of the composition shows a cherub riding on an eagle, holding a crown above their head. A ribbon with inscriptions unfurls around the crown, and a sun with a human face is visible in the corner. The letters "A," "F," "D," "H," and another "H" are decorated with classical elements like putti, garlands, and mythological figures. The central panel is adorned with heraldic symbols, angelic figures, and coats of arms. The overall style of the artwork reflects baroque or renaissance decorative artistry, known for its ornamental details and classical themes.

The works in this room are listed below.

Works in this room

Order, clarity and the ideal landscape in seventeenth-century France.

First room, north wall

  1. A work made of black chalk, with touches of white chalk, on cream laid paper.
    A ProcessionAmbroise Dubois, c. 1610Courtesy of the Art Institute of Chicago
  2. Nymphs and a Satyr (Amor Vincit Omnia), by Nicolas Poussin, c. 1625–27
    Nymphs and a Satyr (Amor Vincit Omnia)Nicolas Poussin, c. 1625–27Courtesy of the Cleveland Museum of Art
  3. A work made of oil on canvas.
    Peasant Family at a WellThe Master of the Children's Caps, 1650/60Courtesy of the Art Institute of Chicago

First room, south wall

  1. The image depicts a landscape viewed from a slightly elevated angle. On the left side, there is a large tree with a twisted trunk and dense foliage. A winding path can be seen with a figure walking with a dog. In the distance, a river winds through the land, and there are rolling hills and trees in the background. The color scheme is sepia-toned.
    Hilly Landscape with Travelers on FootJean MorinCourtesy National Gallery of Art, Washington
  2. Portrait of Charlotte Duchesne, by Philippe de Champaigne, ca. 1628
    Portrait of Charlotte DuchesnePhilippe de Champaigne, ca. 1628Courtesy of The Metropolitan Museum of Art
  3. An elderly woman sits on a small stool and four children stand along the foreground of a landscape with rolling, olive-green fields leading back to low, slate-gray mountains in this nearly square painting. The horizon comes about halfway up the painting, and the sky above is filled with a sheet of steel-gray clouds that break to reveal patches of ice-blue sky. Closest to us and along the left edge of the painting, the woman sits near a structure with a fragment of wall and a column that could be made from tan-colored stone. The woman faces our right in profile and looks at or toward three children gathered on a low hill to our right. Her lined face is partially cast in shadow by her white bonnet, but her skin is yellowed where the light falls across the side closer to us. A wide, white collar lies over the shoulders of her muted, plum-purple jacket, which is tied with a narrow red belt. Her hands rest in the lap of her full, moss-green skirt that falls to her feet and covers most of the stool. To our right, two boys and a little girl stand on a low hill. They all stand with their bodies angled to our right, and all have pale skin and brown hair. To our left in the trio, the young girl wears a royal-blue dress with brick-red, long sleeves and a wide, white collar, cuffs, and cap. Next to her, a slightly older boy wearing gray knee-britches, a honey-orange jacket with a white collar, and a blue tricorn hat looks down and plays a thin pipe. His jacket is torn at the elbows, revealing a red shirt beneath. To our right, the oldest boy wears a brown cloak over a gray jacket, tan trousers, and a tan brimmed hat. He holds his right arm, closer to us, across his chest as he touches an instrument nestled in the crook of his other elbow. Another bareheaded boy wearing a red shirt and blue trousers walks beyond this trio, holding a short pole over one shoulder and a brimmed hat in his other hand. He walks to our left and looks to the horizon. More people with sheep, cows, and a person on horseback dot the rolling fields that stretch back to low hills. One house sits next to a line of trees to the left of center, in the middle distance, and more buildings, including a church spire, cluster on the horizon to our right.
    Landscape with PeasantsLouis Le Nain, c. 1640Courtesy National Gallery of Art, Washington
  4. This image features intricately designed ornate letters of the alphabet surrounded by elaborate illustrations. The top of the composition shows a cherub riding on an eagle, holding a crown above their head. A ribbon with inscriptions unfurls around the crown, and a sun with a human face is visible in the corner. The letters "A," "F," "D," "H," and another "H" are decorated with classical elements like putti, garlands, and mythological figures. The central panel is adorned with heraldic symbols, angelic figures, and coats of arms. The overall style of the artwork reflects baroque or renaissance decorative artistry, known for its ornamental details and classical themes.
    PendantRobert NanteuilCourtesy National Gallery of Art, Washington

Second room, south wall

  1. Perseus and the Origin of Coral, by Claude Lorrain (Claude Gellée), ca. 1671
    Perseus and the Origin of CoralClaude Lorrain (Claude Gellée), ca. 1671Courtesy of The Metropolitan Museum of Art
  2. The image shows an etching of a rural landscape with trees obscuring the horizon. In the distance, there is a cart on a winding path with a person walking beside it. Closer to the viewer, there is a person with a child under a tree, accompanied by a small dog. The artwork features fine and detailed brushwork with cross-hatching for texture and shadows. The color scheme is monochromatic in muted browns, emphasizing details and creating a peaceful scene under soft light filtered through the trees. The trees form a canopy framing the serene setting.
    Edge of a Wood with Peasants Going to MarketJean MorinCourtesy National Gallery of Art, Washington
  3. The Holy Family on the Steps, by Nicolas Poussin, 1648
    The Holy Family on the StepsNicolas Poussin, 1648Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. The Fortune-Teller, by Georges de La Tour, probably 1630s
    The Fortune-TellerGeorges de La Tour, probably 1630sCourtesy of The Metropolitan Museum of Art
  2. A work made of oil on panel.
    MeeknessEustache Le Sueur, 1650Courtesy of the Art Institute of Chicago
  3. The image has an elevated perspective showing two figures with animals in the scene. One person is leaning against a tree with a stick, while the other is seated on the ground. A cow is between them and other livestock in the middle distance. A person in the distance is tending to the animals. The horizon is low in the image, hidden by rolling hills. The artwork is in monochrome with fine linework, creating texture through hatching and cross-hatching, emphasizing depth and dimensionality.
    Peasant Couple with CowJacques Callot, c. 1621Courtesy National Gallery of Art, Washington

Third room, north wall

  1. The Jabach Family, by Charles Le Brun, ca. 1660
    The Jabach FamilyCharles Le Brun, ca. 1660Courtesy of The Metropolitan Museum of Art
  2. Samson, by Valentin de Boulogne, 1630–31
    SamsonValentin de Boulogne, 1630–31Courtesy of the Cleveland Museum of Art
  3. The Abduction of the Sabine Women, by Nicolas Poussin, probably 1633–34
    The Abduction of the Sabine WomenNicolas Poussin, probably 1633–34Courtesy of The Metropolitan Museum of Art