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French classicism

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

29 works · hang 4028 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. Queen Esther Approaching the Palace of Ahasuerus, by Claude Lorrain (Claude Gellée), 1658
    Queen Esther Approaching the Palace of AhasuerusClaude Lorrain (Claude Gellée), 1658Courtesy of The Metropolitan Museum of Art
  2. The Trojan Women Setting Fire to Their Fleet, by Claude Lorrain (Claude Gellée), ca. 1643
    The Trojan Women Setting Fire to Their FleetClaude Lorrain (Claude Gellée), ca. 1643Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on panel.
    MeeknessEustache Le Sueur, 1650Courtesy of the Art Institute of Chicago

Section 1, south wall

  1. The Holy Family on the Steps, by Nicolas Poussin, 1648
    The Holy Family on the StepsNicolas Poussin, 1648Courtesy of the Cleveland Museum of Art
  2. 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
  3. Saint Peter Repentant, by Georges de La Tour, 1645
    Saint Peter RepentantGeorges de La Tour, 1645Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. Painting of Greek landscape, classical architecture, yellow, red robed man reading.
    Landscape with Saint John on PatmosNicolas Poussin, 1640Courtesy of the Art Institute of Chicago
  2. Lute Player, by Valentin de Boulogne, ca. 1625–26
    Lute PlayerValentin de Boulogne, ca. 1625–26Courtesy of The Metropolitan Museum of Art
  3. Portrait of Charlotte Duchesne, by Philippe de Champaigne, ca. 1628
    Portrait of Charlotte DuchesnePhilippe de Champaigne, ca. 1628Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. Samson, by Valentin de Boulogne, 1630–31
    SamsonValentin de Boulogne, 1630–31Courtesy of the Cleveland Museum of Art
  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. 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

Section 3, north wall

  1. A work made of engraving and etching on ivory laid paper.
    The Wise and Foolish Virgins, plate fiveAbraham Bosse, 1635Courtesy of the Art Institute of Chicago
  2. The Jabach Family, by Charles Le Brun, ca. 1660
    The Jabach FamilyCharles Le Brun, ca. 1660Courtesy of The Metropolitan Museum of Art

Section 3, south wall

  1. The Four Seasons: Autumn, by Abraham Bosse, 1635
    The Four Seasons: AutumnAbraham Bosse, 1635Courtesy of the Cleveland Museum of Art
  2. 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