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Georgian Britain

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

63 works · hang 750 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. Descent into the Plain of Granada, by David Roberts, 1834
    Descent into the Plain of GranadaDavid Roberts, 1834Courtesy of the Cleveland Museum of Art
  2. A work made of watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card.
    The Hall, Levens, WestmorelandJoseph Nash, n.d.Courtesy of the Art Institute of Chicago
  3. 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

Section 1, south wall

  1. The painting depicts an equestrian scene with people and horses in a green landscape. There are several people on horseback, and others standing by horses. Some people are also sitting in horse-drawn carriages. The horses are in a variety of colors, and the people wear formal clothing like suit jackets, top hats, vests, or colorful dresses. People fill the middle of the scene and the green hills that rise to the left, while a wide path is marked off on the right, bordered by fences. There are some tall trees around the area, with people gathering below them. In the distance, a large white building with columns and blue roofs can be seen. There is also a white tent partially behind a hill on the left. The sky above is blue and filled with white and gray clouds.
    Heaton Park RacesJohn Ferneley, 1829Courtesy National Gallery of Art, Washington
  2. A work made of brush and black ink wash, with pen and black ink and opaque white and gray watercolor, on cream laid paper.
    A Hero Born on a Bier, from The Master of Giants PortfolioPrince Hoare, 1779Courtesy of the Art Institute of Chicago
  3. This is a drawing showing a pig performing a trick for an audience. It depicts a group of people watching the pig interacting with cards on the floor. The detailed image shows the varied facial expressions of the audience members. There is text at the top of the image suggesting the pig has a unique ability, possibly related to languages. The drawing captures a moment of entertainment in a satirical style, with lines and cross-hatching used to emphasize the humor.
    The Wonderful PigThomas Rowlandson, 1785Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. The image displays a man in a portrait from the waist up, in a three-quarter view. He is facing slightly to the right and looking into the distance with a calm expression. The man has fair skin, light reddish-brown hair, sideburns, a defined nose, and a slightly upturned chin. He is wearing a black double-breasted coat with a high collar, a dark waistcoat, a white shirt, and a medal on his chest with an insignia and ribbon. The background is plain and deep brown.
    Francis Charles Seymour-Conway, 3rd Marquess of HertfordThomas Lawrence, c. 1822/1823Courtesy National Gallery of Art, Washington
  2. Portrait of Colonel Charles Heathcote, by Joseph Wright of Derby, c. 1771–72
    Portrait of Colonel Charles HeathcoteJoseph Wright of Derby, c. 1771–72Courtesy of the Cleveland Museum of Art
  3. This is a drawing of a bird perched on a branch. The bird is detailed and identified as "Turtur Risorius." It rests on a green textured branch against a plain background. The bird has a black ring around its neck, soft brown plumage with intricate feather patterns, and light pink legs. Its eye is prominent and outlined within its head design. The branch is minimalist with small buds and thin twigs.
    Turtur RisoriusWilliam Home LizarsCourtesy National Gallery of Art, Washington
  4. A work made of red chalk on cream laid paper.
    Self-PortraitJohn Flaxman, c. 1779Courtesy of the Art Institute of Chicago

Section 2, 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 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. A work made of engraved letterhead, pen and ink calligraphy, and graphite ruling on parchment, folded with strap and (missing) seal.
    Recovery Document (Land Title Grant)Unrecorded British maker, 1702/14 (Queen Anne period)Courtesy of the Art Institute of Chicago
  4. 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

Section 3, north 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. Portrait of Mrs. George Collier, by Joshua Reynolds, 18th century
    Portrait of Mrs. George CollierJoshua Reynolds, 18th centuryCourtesy of the Cleveland Museum of Art