Floor plan

Style galleriesGeorgian Britain

Georgian Britain

A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
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.
Descent into the Plain of Granada, by David Roberts, 1834
Portrait of Mary Anne Jolliffe, by Gainsborough Dupont, after 1788
Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”
A work made of watercolor and gouache, heightened with white gouache, over graphite selectively gum varnished on cream wove card.
This is a drawing of a winged figure seated on a bird. The image depicts a figure with flowing robes, wings outstretched, holding an open book in one hand. The figure appears to be looking off to the side, with a serene expression. The lower part of the image includes a bird upon which the figure is seated. The bird's head is turned slightly upwards, following the direction in which the figure is gazing. The image is rendered in a warm, monochromatic palette. In the lower section of the image, there is some text, likely Latin.

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. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    August, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago
  2. 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
  3. Descent into the Plain of Granada, by David Roberts, 1834
    Descent into the Plain of GranadaDavid Roberts, 1834Courtesy of the Cleveland Museum of Art
  4. Portrait of Mary Anne Jolliffe, by Gainsborough Dupont, after 1788
    Portrait of Mary Anne JolliffeGainsborough Dupont, after 1788Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. Armies of men march and battle along a rocky outcropping set among huge rock formations and massive buildings under a stormy sky in this horizontal landscape painting. The people we can see all have pale skin. Sheets of rain fall from flint-gray clouds on our left into a valley, though hints of peach brighten the clouds along the mountainous horizon there. In the right half of the sky, light pours down from a brilliant white sun that breaks through white clouds to reveal topaz-blue patches of sky. The horizon comes about halfway up the composition and is lined with rugged white, pale pink, and olive-green mountains on our left and silvery-white buildings along the right half. These structures include two domed buildings and a colosseum among many others. The buildings are all enclosed within city walls buttressed with towers. The land dips precipitously from the rocky cliffs supporting the buildings, to sweep down toward us. A huge outcropping angles up like a ramp between us and the buildings in the distance. A road runs from the walled town toward us, down along the ridge and in front of the outcropping. Countless warriors march in rows of four or five across on the road past a man wearing a feathered helmet and armored breastplate. This man, Joshua, stands on a rocky precipice facing away from us with his right hand raised. He wears a scarlet-red toga under his breastplate, and a royal-blue cape flutters at his left side. He holds a round, copper-colored shield and a spear in his other hand. Two men with gray beards stand near Joshua with their backs to us. Both gesture up to the sky. One holds a slender staff and the other a curling horn. They and another pair of men, who stoop to hold poles used to carry a chest, all wear long, ivory-white robes, cherry-red drapery, and white turbans. The column of soldiers on foot and horseback pass in front of Joshua to a massive battlefield to our left. The fight takes place in a valley that leads back to a river. A bolt of lightning zigzags from the storm clouds and strikes a city in the deep distance. The artist signed the painting in the lower right, “J. Martin.”
    Joshua Commanding the Sun to Stand Still upon GibeonJohn Martin, 1816Courtesy National Gallery of Art, Washington
  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. This is a drawing of a winged figure seated on a bird. The image depicts a figure with flowing robes, wings outstretched, holding an open book in one hand. The figure appears to be looking off to the side, with a serene expression. The lower part of the image includes a bird upon which the figure is seated. The bird's head is turned slightly upwards, following the direction in which the figure is gazing. The image is rendered in a warm, monochromatic palette. In the lower section of the image, there is some text, likely Latin.
    Saint John the EvangelistJohn Skippe, 1771Courtesy National Gallery of Art, Washington

Section 2, south 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. 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
  3. A work made of oil on canvas.
    Mr. Quick as Vellum in Addison's DrummerSamuel De Wilde, 1792Courtesy of the Art Institute of Chicago
  4. 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

Section 2, north wall

  1. The Burning of the Houses of Lords and Commons, 16 October 1834, by Joseph Mallord William Turner, 1835
    The Burning of the Houses of Lords and Commons, 16 October 1834Joseph Mallord William Turner, 1835Courtesy of the Cleveland Museum of Art
  2. John Johnstone, Betty Johnstone, and Miss Wedderburn, by Sir Henry Raeburn, c. 1790/1795
    John Johnstone, Betty Johnstone, and Miss WedderburnSir Henry Raeburn, c. 1790/1795Courtesy National Gallery of Art, Washington
  3. A work made of red chalk on cream laid paper.
    Self-PortraitJohn Flaxman, c. 1779Courtesy of the Art Institute of Chicago

Section 3, north wall

  1. Virgil's Tomb by Moonlight, with Silius Italicus Declaiming, by Joseph Wright of Derby, 1779
    Virgil's Tomb by Moonlight, with Silius Italicus DeclaimingJoseph Wright of Derby, 1779Courtesy of The Metropolitan Museum of Art
  2. A work made of engraving in black ink with opaque and translucent watercolor on cream laid paper.
    May, from Twelve Months of FlowersHenry Fletcher, n.d.Courtesy of the Art Institute of Chicago