Floor plan

Style galleriesGeorgian Britain

Georgian Britain

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.
The image shows a forest by a serene, tree-lined body of water. The horizon is high with tall trees extending close to it, creating a sense of depth. The brushstrokes and watercolor application are delicate, capturing textures of leaves and water gently. The color palette includes muted greens, soft browns, and hints of blue and cream. Closest to us is a dense cluster of trees on the right, curving over the water. Across the water, other tree clusters and shrubs recede into the misty background towards the left.
Portrait of Mary Anne Jolliffe, by Gainsborough Dupont, after 1788
Bray Church Yard, by John Varley, 1807
The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, by Johann Zoffany, c. 1772
A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
This is a drawing of a seated figure on a large bird. The image depicts a classically draped figure seated on a stylized bird. The figure holds an open book and gazes into the distance. The bird has sharp features and spread wings. The background contains swirling clouds. The scene is framed with a border, and there is text at the bottom. The lines are bold and the shades are muted.
A work made of red and black chalk on gray wove paper.

The works in this room are listed below.

Works in this room

Portraits, conversation pieces and watercolour landscapes from Hogarth to Constable.

Section 1, 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. The image shows a forest by a serene, tree-lined body of water. The horizon is high with tall trees extending close to it, creating a sense of depth. The brushstrokes and watercolor application are delicate, capturing textures of leaves and water gently. The color palette includes muted greens, soft browns, and hints of blue and cream. Closest to us is a dense cluster of trees on the right, curving over the water. Across the water, other tree clusters and shrubs recede into the misty background towards the left.
    Peamore, DevonJohn White Abbott, 1799Courtesy National Gallery of Art, Washington
  3. Portrait of Mary Anne Jolliffe, by Gainsborough Dupont, after 1788
    Portrait of Mary Anne JolliffeGainsborough Dupont, after 1788Courtesy of the Cleveland Museum of Art
  4. Bray Church Yard, by John Varley, 1807
    Bray Church YardJohn Varley, 1807Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. 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
  2. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    July, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago
  3. This is a drawing of a seated figure on a large bird. The image depicts a classically draped figure seated on a stylized bird. The figure holds an open book and gazes into the distance. The bird has sharp features and spread wings. The background contains swirling clouds. The scene is framed with a border, and there is text at the bottom. The lines are bold and the shades are muted.
    Saint John the EvangelistJohn Skippe, 1771Courtesy National Gallery of Art, Washington
  4. A work made of red and black chalk on gray wove paper.
    Two Studies of a Right HandThomas Lawrence, July 26, 1800Courtesy of the Art Institute of Chicago

Section 2, south wall

  1. Shown from the waist up, a young, pale-skinned woman with her gray hair piled high atop her head is lit starkly against a dark background in this vertical portrait painting. The woman’s shoulders are angled to our left. Her face is square to us, but she looks off to our right from the corners of her eyes, which are gray rimmed with golden brown around the pupils. She has a thin face, smooth cheeks, a bow-shaped pink mouth, and a narrow chin. Her hair is mostly swept up high under a bank of pearl-white feathers and some sparkling ornaments. A few ringlets hang down the back of her neck. The bodice of her white dress scoops low across her chest and sits just above her sloping shoulders. The dress is adorned with pearls on the sleeves and around the neckline, and the fabric shimmers from silvery white to pale gold. The background is earth-brown around her face and deepens to almost black in the corners.
    Mrs. Paul Cobb MethuenThomas Gainsborough, c. 1776/1777Courtesy National Gallery of Art, Washington
  2. A work made of pen and black ink and brush and black ink wash, with touches of pen and brown ink, on ivory laid paper.
    Hannah Presenting Samuel to EliJohn Flaxman, c. 1783Courtesy of the Art Institute of Chicago
  3. Portrait of Charlotte and Sarah Carteret-Hardy, by Thomas Lawrence, 1801
    Portrait of Charlotte and Sarah Carteret-HardyThomas Lawrence, 1801Courtesy of the Cleveland Museum of Art

Section 2, north wall

  1. From a grassy riverbank, we look across the placid surface of a river lined along the far bank with trees and farm animals in this horizontal landscape painting. The scene is painted loosely with brushstrokes visible throughout, so some details are difficult to make out. For the surface of the river, russet-brown and steel-gray paint skims lightly across the canvas and leaves some unpainted areas visible, creating the effect of light shimmering on the still water. On our left, a shallow wooden barge is propelled along the stream by two men in red caps with long poles. The boat carries a white horse wearing blinders and a harness. The riverbank beyond is lined with pale, sage-green grass tinged with gold, growing in front of a tangle of darker green trees and bushes. Across the water from us near the middle of the picture, a small rowboat sits in the shallows at the foot of a steep riverbank. Above, a white cottage with a reddish roof and chimney is tucked behind the trees, with a wooden rack full of hay next to it. Nearby, a plow and wheeled cart, highlighted with strokes of white, sit near more mounds of hay. Rocky fields reach into the distance. The vista is blocked to our right by another clump of trees and a rocky outcropping, rising from the stream, to our right of center. The steep, dark roof of a farmhouse is barely visible among the trees. Along the riverside to our right, a small group of cinnamon-brown and cream-white cows stand at water's edge. A rolling pasture stretches behind them to meet blue hills in the distance. Above, in the upper third of the painting, mottled white, pale rose, and gray clouds rolling across a steel-gray sky are reflected in the water below.
    The White HorseJohn Constable, 1818-1819Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Theophilia GwatkinJoshua Reynolds, 1776–81Courtesy of the Art Institute of Chicago
  3. Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century
    Portrait of Mrs. George CollierJoshua Reynolds, 18th centuryCourtesy of the Cleveland Museum of Art

Section 3, north wall

  1. We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting. A wooden fence closer to us crosses the landscape from the lower left corner and disappears where the land slopes down to meet the water at the center of the painting. Several black and white cows graze in the field beyond the fence to our left. Two men in a wooden boat pull in nets on the lake to our right near a pair of swans. The lake crosses the composition in the near distance, disappearing into a culvert farther back. A donkey pulls a small carriage with two people near a bridge that crosses the lake in the distance to our left. The brick manor house is visible through a break in the full, deep green trees that line the horizon, which comes halfway up the composition. The clouds cast noticeable shadows in the brightly sunlit scene.
    Wivenhoe Park, EssexJohn Constable, 1816Courtesy National Gallery of Art, Washington
  2. Portrait of the Ladies Amabel and Mary Jemima Yorke, by Joshua Reynolds, c. 1761
    Portrait of the Ladies Amabel and Mary Jemima YorkeJoshua Reynolds, c. 1761Courtesy of the Cleveland Museum of Art