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It is now at the National Gallery of Art in Washington, DC.","In a room filled with easels, white plaster heads and statuettes, a box of paints, books, and papers, a young woman stands looking at a sketch and a young girl looks on, seated in an armchair, in this vertical painting. The scene is lit from the upper left, presumably from a window out of our view. Both women have smooth, pale skin, and their hair is swept up with curls framing their faces. They face our right in profile so their faces are in gentle shadow. They have straight noses, and their rose-pink lips are closed. They wear gowns with short sleeves, low, scooped necks, and floor-length skirts cinched under the bust. In the center of the painting, the young woman has chestnut-brown hair and wears a white gown tied with a sky-blue ribbon. She stands in front of a portfolio propped up against a tall easel. The portfolio is made of two stiff boards that tie together with pale blue ribbon to secure large sheets of paper. She rests her right hand, closer to us, on the front board of the portfolio and looks down at the sketch on a gray piece of paper she holds with her other hand. Next to her and closer to us, the younger girl sits in a gold chair upholstered with olive-green velvet. She faces our right almost in profile, and she looks up toward the drawing the other woman holds. The girl in the chair has blond hair and a gold-colored dress. Her feet are propped on a gold footstool, and she holds another portfolio on her lap. She supports the portfolio and holds a piece of paper with one hand, and a stylus or brush in the other hand, up by her chin. To the right of the easel, a wooden table holds a collection of plaster casts of faces, a hand, and small-scale bodies along with a glass vessel and a few other tools. Two translucent green bottles, boxes, a book, and a terracotta vase are collected on the footstool and the floor around the base of the easel. Garnet-red cloths are draped down the front of the table to our right and behind the girl on the chair. Next to her chair, in the lower left corner of the composition, is a wooden box with a paint palette and a handful of thin paintbrushes. A scroll of paper lies next to the box. A shelf at the standing girl’s shoulder height and behind the pair, to our left, is piled with white busts of a man, child, and woman, more figurines, and a brush in a small cup, all arranged across a moss-green cloth. The space with the girls and artist’s tools is enclosed by a large, dark brown form, presumably a canvas in shadow, that leans against the tall easels and mostly cuts off a view into the rest of the room. A glimpse of shadowy capitals is seen over the board, across the top of the painting, to suggest that a row of columns recedes into the space beyond. The artist signed the work as if he had painted his name on the floor next to the scroll, “L. Boilly.”",{"_296":374,"_298":375,"_300":376},"https://img.ochreeditions.com/m/1368.jpg?dl=1","/art/a-painter-s-studio-nga-12199","/galleries/style/neoclassicism/a-painter-s-studio-nga-12199",{"_292":293,"_294":295},{"_226":366,"_125":367,"_286":368},{"_277":363,"_279":364,"_281":365,"_282":348},74.3060302734375,88.5,59.3060302734375,{"_288":226,"_123":372,"_154":373,"_140":89},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":369,"_154":370,"_140":371},"era/18-france","18th-century France",75,"artist/contemporaries-of-louis-leopold-boilly","Louis-Léopold Boilly's contemporaries","https://img.ochreeditions.com/a/1368/480.jpg","https://img.ochreeditions.com/a/1368/960.jpg","https://img.ochreeditions.com/a/1368/1920.jpg","nga","national-gallery-of-art","National Gallery of Art, Washington","Washington, DC",{"_312":394,"_314":395},{"_312":392,"_314":393},{"_312":390,"_314":391},{"_312":388,"_314":389},{"_312":386,"_314":387},"#c0ac92",0.0748,"#876331",0.1054,"#594226",0.1945,"#332519",0.243,"#171a18",0.3823,"Louis-Léopold Boilly","louis-leopold-boilly","French, 1761–1845","French",1761,1845,"im-hollenthal-in-the-hollen-valley-nga-108753","Im Höllenthal (In the Höllen Valley)",{"_42":460,"_223":461,"_326":462,"_328":463,"_330":464,"_332":465,"_334":-5,"_336":-5,"_338":-5,"_140":103},"1818",19,"germany","print","Print","etching on laid paper","sheet (trimmed to plate mark): 32.8 x 27.6 cm (12 15/16 x 10 7/8 in.)",27.6,32.8,0.8498527968596663,[445,446,447,448,449],{"_222":377,"_223":378,"_42":379,"_305":380},"1999.32.1","Johann Christoph Erhard made this in 1818, aged 23. It is now at the National Gallery of Art in Washington, DC.","The image shows a landscape with a wooden bridge crossing over a river in a valley. The scenery includes cliffs, trees, and flowing water below. The artwork features fine, detailed brushstrokes depicting the texture of the cliffs, foliage, and water. The color scheme is monochromatic with various shades of gray and sepia tones. Two figures are seen on the bridge, contributing to the sense of scale and activity in the serene setting.",{"_296":442,"_298":443,"_300":444},"https://img.ochreeditions.com/m/1643.jpg?dl=1","/art/im-hollenthal-in-the-hollen-valley-nga-108753","/galleries/style/neoclassicism/im-hollenthal-in-the-hollen-valley-nga-108753",{"_292":440,"_294":441},{"_226":430,"_125":431,"_286":432},{"_277":427,"_279":428,"_281":429,"_282":413},51.87517173699705,56.8,27.875171736997054,{"_288":226,"_123":438,"_154":439,"_140":89},{"_288":125,"_123":435,"_154":436,"_140":437},{"_288":286,"_123":433,"_154":434,"_140":77},"era/19-germany","19th-century Germany","style/print-19","More prints of the 19th century",159,"artist/contemporaries-of-johann-christoph-erhard","Johann Christoph Erhard's contemporaries","black","snow","https://img.ochreeditions.com/a/1643/480.jpg","https://img.ochreeditions.com/a/1643/960.jpg","https://img.ochreeditions.com/a/1643/1920.jpg",{"_312":458,"_314":459},{"_312":456,"_314":457},{"_312":454,"_314":455},{"_312":452,"_314":453},{"_312":450,"_314":451},"#59524c",0.1033,"#baae9b",0.1947,"#7c7367",0.2054,"#ded1be",0.2332,"#998e7f",0.2634,"Johann Christoph Erhard","johann-christoph-erhard","German, 1795–1822","German",1795,1822,"prancing-horse-aic-51541","Prancing Horse",{"_42":523,"_223":524,"_326":525,"_328":399,"_330":526,"_332":527,"_334":-5,"_336":-5,"_338":-5,"_140":103},"1808–12","26.4 × 39.5 cm (10 3/8 × 15 1/2 in.); Framed: 46.4 × 59.1 × 7.3 cm (18 1/4 × 23 1/4 × 2 7/8 in.)",39,26,1.533487297921478,[508,509,510,511,512],{"_222":504,"_223":505,"_42":506,"_305":507},"Courtesy of the Art Institute of Chicago","1944.687","Follower of Jean Louis André Théodore Géricault painted this in 1808–12, aged about 17. It is now at the Art Institute of Chicago.","A work made of oil on canvas.",{"_296":501,"_298":502,"_300":503},"https://img.ochreeditions.com/m/162.jpg?dl=1","/art/prancing-horse-aic-51541","/galleries/style/neoclassicism/prancing-horse-aic-51541",{"_292":293,"_294":295},{"_226":490,"_125":491,"_286":492},{"_277":487,"_279":488,"_281":471,"_282":489},54,40.43222891566265,25.43222891566265,{"_288":226,"_123":499,"_154":500,"_140":89},{"_288":125,"_123":496,"_154":497,"_140":498},{"_288":286,"_123":493,"_154":494,"_140":495},"era/19-france","19th-century France",237,"style/painting-19","More paintings of the 19th century",432,"artist/contemporaries-of-follower-of-jean-louis-andre-theodore-gericault","Follower of Jean Louis André Théodore Géricault's contemporaries","https://img.ochreeditions.com/a/162/480.jpg","https://img.ochreeditions.com/a/162/960.jpg","https://img.ochreeditions.com/a/162/1920.jpg","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_312":521,"_314":522},{"_312":519,"_314":520},{"_312":517,"_314":518},{"_312":515,"_314":516},{"_312":513,"_314":514},"#5b6762",0.0621,"#989a85",0.1194,"#575030",0.1819,"#201c1b",0.3158,"#343324",0.3208,"Follower of Jean Louis André Théodore Géricault","follower-of-jean-louis-andre-theodore-gericault","French, 1791–1824",1791,1824,"allegory-of-music-nga-32680","Allegory of Music",{"_42":575,"_223":576,"_326":577,"_328":399,"_330":578,"_332":579,"_334":580,"_336":580,"_338":581,"_140":93},"1764","overall: 103.5 x 130 cm (40 3/4 x 51 3/16 in.) framed: 130.8 x 157.5 cm (51 1/2 x 62 in.)",130,103.5,1.2541334966319657,[560,561,562,563,564],{"_222":377,"_223":378,"_42":379,"_305":380},"1946.7.2","François Boucher painted this in 1764, aged 61. It is now at the National Gallery of Art in Washington, DC.","Seated on clouds, a woman personifying Music points to a lyre propped on her knee, which a putto reaches out to strum, while another hovers above with a flute and a laurel wreath. Around her lie a horn wrapped in laurel, a plumed helmet and a sword, and two white doves support an open book of music.","A woman wearing flowing, pastel-colored robes and two, winged, child-like putti gather on a bank of clouds among musical instruments and sheet music in this horizontal painting. The people all have pale, pink-tinged skin. The woman sits to our right of center, facing our left in profile. She has straight nose, a rounded chin, and her small, pink lips are closed. Her ash-blond hair is pulled back under a yellow band. A voluminous white robe falls away over her left shoulder, to our right, to reveal a firm breast and small pink nipple. Sky-blue drapery wraps over her far arm, and deep rose-pink cloth falls across her lap and onto the clouds around her. Her legs extend to our left, her toes pointed. She leans back on her left elbow, closer to us, and points with that index finger to a lyre she props against her knee with her other hand. One chubby, nude putto reaches forward to strum the strings. The other putto hovers above, holding a ring of laurel leaves up in one hand and a flute in the other. Both putti have chubby limbs and torsos, blond curls lifted as if in a breeze, and short, ice-blue wings. Both look at the woman. In the lower left corner, a helmet with a topaz-blue feather and the gold hilt of a sword sit near the woman’s feet. Beneath the woman’s lower leg, at the bottom center of the painting, is a gold horn encircled by another wreath of laurel leaves. Two white doves with wings spread support an open book of sheet music and two pink roses tucked under the woman’s bent elbow. Fog-gray clouds billow up both sides of the scene against a pale blue sky. The clouds on which the trio gathers are parchment brown shaded with mauve pink. The outer corners of the image are white, indicating that the corners of the canvas were rounded. The artist signed and dated the painting in the lower right corner, “F Boucher 1764.”",{"_296":557,"_298":558,"_300":559},"https://img.ochreeditions.com/m/1476.jpg?dl=1","/art/allegory-of-music-nga-32680","/galleries/style/neoclassicism/allegory-of-music-nga-32680",{"_292":293,"_294":295},{"_226":552,"_125":553,"_286":554},{"_277":549,"_279":550,"_281":533,"_282":551},145,118.6572265625,103.6572265625,{"_288":226,"_123":555,"_154":556,"_140":93},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":369,"_154":370,"_140":371},"artist/francois-boucher","More by François Boucher","https://img.ochreeditions.com/a/1476/480.jpg","https://img.ochreeditions.com/a/1476/960.jpg","https://img.ochreeditions.com/a/1476/1920.jpg",{"_312":573,"_314":574},{"_312":571,"_314":572},{"_312":569,"_314":570},{"_312":567,"_314":568},{"_312":565,"_314":566},"#a35642",0.079,"#b9a69a",0.1789,"#686158",0.1896,"#987a65",0.2246,"#919fa2",0.3279,"François Boucher","francois-boucher","French, 1703–1770",1703,1770,"Paris","Boucher trained with François Lemoyne, won the Prix de Rome and spent several years in Italy before rising to become First Painter to Louis XV. Madame de Pompadour was his most important patron.","ancient-teutons-nga-57438","Ancient Teutons",{"_42":632,"_223":633,"_326":634,"_328":463,"_330":635,"_332":636,"_334":-5,"_336":-5,"_338":-5,"_140":101},"1782","etching",0.813232421875,[617,618,619,620,621],{"_222":377,"_223":378,"_42":379,"_305":380},"1979.59.2","Daniel Nikolaus Chodowiecki made this in 1782, aged 56. It is now at the National Gallery of Art in Washington, DC.","The image depicts a group of people in varying poses and outfits. A central figure, possibly a child, is being held up by a man. Those around them are positioned differently, some standing closely. The figures have detailed faces and wear garments resembling classical attire. Shields and banners decorated with symbols are present in the background. Armor and helmets are scattered on the ground. Trees and a group of people in the distance are part of the background.",{"_296":614,"_298":615,"_300":616},"https://img.ochreeditions.com/m/1591.jpg?dl=1","/art/ancient-teutons-nga-57438","/galleries/style/neoclassicism/ancient-teutons-nga-57438",{"_292":440,"_294":441},{"_226":604,"_125":605,"_286":606},{"_277":600,"_279":601,"_281":602,"_282":603},72.7939453125,84,48.7939453125,60,{"_288":226,"_123":612,"_154":613,"_140":89},{"_288":125,"_123":609,"_154":610,"_140":611},{"_288":286,"_123":607,"_154":608,"_140":85},"era/18-germany","18th-century Germany","style/print-18","More prints of the 18th century",129,"artist/contemporaries-of-daniel-nikolaus-chodowiecki","Daniel Nikolaus Chodowiecki's contemporaries","https://img.ochreeditions.com/a/1591/480.jpg","https://img.ochreeditions.com/a/1591/960.jpg","https://img.ochreeditions.com/a/1591/1920.jpg",{"_312":630,"_314":631},{"_312":628,"_314":629},{"_312":626,"_314":627},{"_312":624,"_314":625},{"_312":622,"_314":623},"#dcccb1",0.0871,"#62594f",0.1526,"#b4a48d",0.2188,"#968874",0.2476,"#7b6f60",0.2939,"Daniel Nikolaus Chodowiecki","daniel-nikolaus-chodowiecki","German, 1726–1801",1726,1801,"alexander-at-the-tomb-of-cyrus-the-great-aic-100060","Alexander at the Tomb of Cyrus the Great",{"_42":682,"_223":683,"_326":684,"_328":399,"_330":685,"_332":686,"_334":-5,"_336":-5,"_338":687,"_140":97},"1796","42 × 91.1 cm (16 9/16 × 35 7/8 in.); Framed: 59.3 × 107.7 cm (23 5/16 × 42 3/8 in.)",91,42,2.2301401869158877,[668,669,670,671,672],{"_222":504,"_223":505,"_42":506,"_305":507},"1983.35","Pierre Henri de Valenciennes painted this in 1796, aged 46. It is now at the Art Institute of Chicago.","Alexander the Great and his soldiers pause among tents and trees before the tomb of Cyrus the Great, founder of the Persian Empire, whose grave at Pasargadae Alexander found plundered and ordered to be restored.",{"_296":665,"_298":666,"_300":667},"https://img.ochreeditions.com/m/259.jpg?dl=1","/art/alexander-at-the-tomb-of-cyrus-the-great-aic-100060","/galleries/style/neoclassicism/alexander-at-the-tomb-of-cyrus-the-great-aic-100060",{"_292":293,"_294":295},{"_226":660,"_125":661,"_286":662},{"_277":657,"_279":658,"_281":642,"_282":659},106,55.804609743321116,40.804609743321116,{"_288":226,"_123":663,"_154":664,"_140":97},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":369,"_154":370,"_140":371},"artist/pierre-henri-de-valenciennes","More by Pierre Henri de Valenciennes","https://img.ochreeditions.com/a/259/480.jpg","https://img.ochreeditions.com/a/259/960.jpg","https://img.ochreeditions.com/a/259/1920.jpg",{"_312":680,"_314":681},{"_312":679,"_314":627},{"_312":677,"_314":678},{"_312":675,"_314":676},{"_312":673,"_314":674},"#a09a87",0.1546,"#876233",0.1848,"#46371b",0.201,"#726d62","#583a0f",0.2408,"Pierre Henri de Valenciennes","pierre-henri-de-valenciennes","French, 1750–1819",1750,1819,"Valenciennes was the leading theorist of French historical landscape.","god-save-us-from-such-a-bitter-fate-a-bandit-threatening-a-w-met-334050","God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the \"Black Border Album\" (E)",{"_42":743,"_223":744,"_326":745,"_328":329,"_330":746,"_332":747,"_334":748,"_336":749,"_338":750,"_140":81},"ca. 1816–20","drawing","Drawings","Brush, carbon black gray ink and was, scraper","Sheet: 10 1/2 × 7 3/8 in. (26.6 × 18.7 cm)",18.7,26.6,0.7037638776062821,[728,729,730,731,732],{"_222":302,"_223":303,"_42":304,"_305":306},"35.103.50","Francisco Goya drew this in about 1816–20, aged about 65. It is now at The Met in New York.","A bandit raises a knife over a terrified woman and her child, and Goya’s caption pleads, “God save us from such a bitter fate.” The drawing comes from the so-called Black Border Album, one of the private albums Goya filled late in life, named for the black ink borders framing each page.","God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the \"Black Border Album\" (E), by Francisco Goya, ca. 1816–20",{"_296":725,"_298":726,"_300":727},"https://img.ochreeditions.com/m/991.jpg?dl=1","/art/god-save-us-from-such-a-bitter-fate-a-bandit-threatening-a-w-met-334050","/galleries/style/neoclassicism/god-save-us-from-such-a-bitter-fate-a-bandit-threatening-a-w-met-334050",{"_292":440,"_294":441},{"_226":715,"_125":716,"_286":717},{"_277":712,"_279":713,"_281":714,"_282":697},42.72011914432711,50.6,18.720119144327107,{"_288":226,"_123":723,"_154":724,"_140":81},{"_288":125,"_123":720,"_154":721,"_140":722},{"_288":286,"_123":718,"_154":719,"_140":87},"era/19-spain","19th-century Spain","style/drawing-19","More drawings of the 19th century",92,"artist/francisco-goya","More by Francisco Goya","https://img.ochreeditions.com/a/991/480.jpg","https://img.ochreeditions.com/a/991/960.jpg","https://img.ochreeditions.com/a/991/1920.jpg",{"_312":741,"_314":742},{"_312":739,"_314":740},{"_312":737,"_314":738},{"_312":735,"_314":736},{"_312":733,"_314":734},"#5c5a54",0.0952,"#c2bbaa",0.1119,"#969184",0.1207,"#757169",0.1864,"#e8dfca",0.4858,"Francisco Goya","francisco-goya","Spanish, 1746–1828",1746,1828,"Fuendetodos","Bordeaux","Goya began with tapestry designs for the royal factory in Madrid and rose to become first painter to the Spanish court under Charles IV. After a serious illness left him deaf in the 1790s, his work grew darker and more personal.","charles-maurice-de-talleyrand-perigord-1754-1838-prince-de-b-met-441969","Charles Maurice de Talleyrand Périgord (1754–1838), Prince de Bénévent",{"_42":797,"_223":798,"_326":799,"_328":399,"_330":579,"_332":800,"_334":801,"_336":580,"_338":-5,"_140":103},"1808","83 7/8 x 57 7/8 in. (213 x 147 cm)",147,213,0.6846193682030036,[782,783,784,785,786],{"_222":302,"_223":303,"_42":304,"_305":306},"2012.348","baron François Gérard painted this in 1808, aged 38. It is now at The Met in New York.","Charles Maurice de Talleyrand Périgord (1754–1838), Prince de Bénévent, by baron François Gérard, 1808",{"_296":779,"_298":780,"_300":781},"https://img.ochreeditions.com/m/1203.jpg?dl=1","/art/charles-maurice-de-talleyrand-perigord-1754-1838-prince-de-b-met-441969","/galleries/style/neoclassicism/charles-maurice-de-talleyrand-perigord-1754-1838-prince-de-b-met-441969",{"_292":293,"_294":295},{"_226":774,"_125":775,"_286":776},{"_277":771,"_279":772,"_281":773,"_282":757},160.82392542723977,228,145.82392542723977,{"_288":226,"_123":777,"_154":778,"_140":89},{"_288":125,"_123":496,"_154":497,"_140":498},{"_288":286,"_123":493,"_154":494,"_140":495},"artist/contemporaries-of-baron-francois-gerard","baron François Gérard's contemporaries","https://img.ochreeditions.com/a/1203/480.jpg","https://img.ochreeditions.com/a/1203/960.jpg","https://img.ochreeditions.com/a/1203/1920.jpg",{"_312":795,"_314":796},{"_312":793,"_314":794},{"_312":791,"_314":792},{"_312":789,"_314":790},{"_312":787,"_314":788},"#787469",0.0196,"#5a3d24",0.0614,"#896137",0.0658,"#33231b",0.2068,"#1a1513",0.6464,"baron François Gérard","baron-francois-gerard","French, 1770–1837",1837,"Rome","study-of-a-seated-woman-seen-from-behind-marie-gabrielle-cap-met-383862","Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet)",{"_42":852,"_223":853,"_326":854,"_328":399,"_330":855,"_332":856,"_334":580,"_336":580,"_338":-5,"_140":101},"1789","Red, black, and white chalk on toned laid paper","Sheet: 20 1/2 x 18 7/8 in. (52 x 48 cm)",48,52,0.7939519715386896,[837,838,839,840,841],{"_222":302,"_223":303,"_42":304,"_305":306},"2008.538.1","Adélaïde Labille-Guiard drew this in 1789, aged 40. It is now at The Met in New York.","Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), by Adélaïde Labille-Guiard, 1789",{"_296":834,"_298":835,"_300":836},"https://img.ochreeditions.com/m/1053.jpg?dl=1","/art/study-of-a-seated-woman-seen-from-behind-marie-gabrielle-cap-met-383862","/galleries/style/neoclassicism/study-of-a-seated-woman-seen-from-behind-marie-gabrielle-cap-met-383862",{"_292":440,"_294":441},{"_226":826,"_125":827,"_286":828},{"_277":823,"_279":824,"_281":825,"_282":809},65.28550252001186,76,41.28550252001186,{"_288":226,"_123":832,"_154":833,"_140":89},{"_288":125,"_123":829,"_154":830,"_140":831},{"_288":286,"_123":369,"_154":370,"_140":371},"style/drawing-18","More drawings of the 18th century",31,"artist/contemporaries-of-adelaide-labille-guiard","Adélaïde Labille-Guiard's contemporaries","https://img.ochreeditions.com/a/1053/480.jpg","https://img.ochreeditions.com/a/1053/960.jpg","https://img.ochreeditions.com/a/1053/1920.jpg",{"_312":850,"_314":851},{"_312":848,"_314":849},{"_312":846,"_314":847},{"_312":844,"_314":845},{"_312":842,"_314":843},"#b19e8e",0.0944,"#564f48",0.1627,"#766456",0.167,"#a6876d",0.2411,"#8e735e",0.3348,"Adélaïde Labille-Guiard","adelaide-labille-guiard","French, 1749–1803",1749,1803,"ajax-front-view-from-oeuvre-de-canova-aic-260561","Ajax, Front View, from Oeuvre de Canova",{"_42":905,"_223":906,"_326":907,"_328":908,"_330":909,"_332":910,"_334":-5,"_336":-5,"_338":-5,"_140":99},"1817","italy","Engraving and etching in black on ivory wove paper","Plate: 60.5 × 41.2 cm (23 7/8 × 16 1/4 in.); Sheet: 86 × 62 cm (33 7/8 × 24 7/16 in.)",41,0.7232285312060066,[890,891,892,893,894],{"_222":504,"_223":505,"_42":506,"_305":507},"2021.48","Antonio Canova made this in 1817, aged 52. It is now at the Art Institute of Chicago.","A work made of engraving and etching in black on ivory wove paper.",{"_296":887,"_298":888,"_300":889},"https://img.ochreeditions.com/m/403.jpg?dl=1","/art/ajax-front-view-from-oeuvre-de-canova-aic-260561","/galleries/style/neoclassicism/ajax-front-view-from-oeuvre-de-canova-aic-260561",{"_292":440,"_294":441},{"_226":880,"_125":881,"_286":882},{"_277":878,"_279":601,"_281":879,"_282":603},67.3937118723604,43.3937118723604,{"_288":226,"_123":885,"_154":886,"_140":99},{"_288":125,"_123":435,"_154":436,"_140":437},{"_288":286,"_123":883,"_154":884,"_140":79},"era/19-italy","19th-century Italy","artist/antonio-canova","More by Antonio Canova","https://img.ochreeditions.com/a/403/480.jpg","https://img.ochreeditions.com/a/403/960.jpg","https://img.ochreeditions.com/a/403/1920.jpg",{"_312":903,"_314":904},{"_312":901,"_314":902},{"_312":899,"_314":900},{"_312":897,"_314":898},{"_312":895,"_314":896},"#867e74",0.0187,"#afa79e",0.0435,"#e6dad3",0.0445,"#d1c8c1",0.0904,"#faede6",0.8029,"Antonio Canova","antonio-canova","Italian, 1765–1820","Italian",1765,1820,"seated-giant-met-334002","Seated Giant",{"_42":743,"_223":744,"_326":745,"_328":329,"_330":746,"_332":747,"_334":748,"_336":749,"_338":750,"_140":81},"by 1818 (possibly 1814–18)","Prints","Burnished aquatint, scaper, roulette, lavis (along the top of the landscape and within the landscape)","Plate: 11 3/16 × 8 3/16 in. (28.4 × 20.8 cm) Framed: 21 3/4 × 19 in. (55.2 × 48.3 cm)",20.8,28.4,0.7007743362831859,[943,944,945,946,947],{"_222":302,"_223":303,"_42":304,"_305":306},"35.42","Francisco Goya made this (by 1818 (possibly 1814–18)), aged 72. It is now at The Met in New York.","A colossal nude figure sits on the edge of the world, turning to look back over his shoulder, while a tiny landscape lies at his feet. Goya created the image in burnished aquatint, scraping and polishing light out of a dark tonal ground so that the giant seems to emerge from the night.","Seated Giant, by Francisco Goya, by 1818 (possibly 1814–18)",{"_296":940,"_298":941,"_300":942},"https://img.ochreeditions.com/m/989.jpg?dl=1","/art/seated-giant-met-334002","/galleries/style/neoclassicism/seated-giant-met-334002",{"_292":440,"_294":441},{"_226":937,"_125":938,"_286":939},{"_277":934,"_279":935,"_281":936,"_282":919},43.90199115044248,52.4,19.901991150442477,{"_288":226,"_123":723,"_154":724,"_140":81},{"_288":125,"_123":435,"_154":436,"_140":437},{"_288":286,"_123":718,"_154":719,"_140":87},"https://img.ochreeditions.com/a/989/480.jpg","https://img.ochreeditions.com/a/989/960.jpg","https://img.ochreeditions.com/a/989/1920.jpg",{"_312":956,"_314":957},{"_312":954,"_314":955},{"_312":952,"_314":953},{"_312":950,"_314":951},{"_312":948,"_314":949},"#584e43",0.1619,"#c2b29c",0.169,"#716352",0.207,"#94846f",0.2088,"#e9dbc1",0.2533,"the-antechamber-of-the-sala-del-maggior-consiglio-met-438023","The Antechamber of the Sala del Maggior Consiglio",{"_42":1007,"_223":1008,"_326":1009,"_328":908,"_330":1010,"_332":1011,"_334":1012,"_336":1012,"_338":1013,"_140":97},"ca. 1765–68","13 3/8 x 20 in. (34 x 50.8 cm)",50.8,34,1.5009846396218984,[992,993,994,995,996],{"_222":302,"_223":303,"_42":304,"_305":306},"1997.117.4","Francesco Guardi painted this in about 1765–68, aged about 53. It is now at The Met in New York.","The Antechamber of the Sala del Maggior Consiglio, by Francesco Guardi, ca. 1765–68",{"_296":989,"_298":990,"_300":991},"https://img.ochreeditions.com/m/1180.jpg?dl=1","/art/the-antechamber-of-the-sala-del-maggior-consiglio-met-438023","/galleries/style/neoclassicism/the-antechamber-of-the-sala-del-maggior-consiglio-met-438023",{"_292":293,"_294":295},{"_226":981,"_125":982,"_286":983},{"_277":978,"_279":979,"_281":963,"_282":980},65.8,48.844450275518234,33.844450275518234,{"_288":226,"_123":987,"_154":988,"_140":97},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":984,"_154":985,"_140":986},"era/18-italy","18th-century Italy",49,"artist/francesco-guardi","More by Francesco Guardi","https://img.ochreeditions.com/a/1180/480.jpg","https://img.ochreeditions.com/a/1180/960.jpg","https://img.ochreeditions.com/a/1180/1920.jpg",{"_312":1005,"_314":1006},{"_312":1003,"_314":1004},{"_312":1001,"_314":1002},{"_312":999,"_314":1000},{"_312":997,"_314":998},"#85703b",0.1097,"#292c25",0.1138,"#8b8056",0.1622,"#50472e",0.2597,"#6a5d39",0.3546,"Francesco Guardi","francesco-guardi","Italian, 1712–1793",1712,1793,"Venice","Guardi worked for years in the family studio in Venice led by his elder brother Gianantonio, producing altarpieces and figure paintings, and became chiefly a painter of city views, especially after his brother’s death in 1760.","self-portrait-with-two-pupils-marie-gabrielle-capet-1761-181-met-436840","Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788)",{"_42":852,"_223":853,"_326":854,"_328":399,"_330":855,"_332":856,"_334":580,"_336":580,"_338":-5,"_140":101},"1785","83 x 59 1/2 in. (210.8 x 151.1 cm)",151.1,210.8,0.7406266050333847,[1043,1044,1045,1046,1047],{"_222":302,"_223":303,"_42":304,"_305":306},"53.225.5","Adélaïde Labille-Guiard painted this in 1785, aged 36. It is now at The Met in New York.","Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), by Adélaïde Labille-Guiard, 1785",{"_296":1040,"_298":1041,"_300":1042},"https://img.ochreeditions.com/m/1112.jpg?dl=1","/art/self-portrait-with-two-pupils-marie-gabrielle-capet-1761-181-met-436840","/galleries/style/neoclassicism/self-portrait-with-two-pupils-marie-gabrielle-capet-1761-181-met-436840",{"_292":293,"_294":295},{"_226":1037,"_125":1038,"_286":1039},{"_277":1034,"_279":1035,"_281":1036,"_282":1020},171.12408834103752,225.8,156.12408834103752,{"_288":226,"_123":832,"_154":833,"_140":89},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":369,"_154":370,"_140":371},"https://img.ochreeditions.com/a/1112/480.jpg","https://img.ochreeditions.com/a/1112/960.jpg","https://img.ochreeditions.com/a/1112/1920.jpg",{"_312":1056,"_314":1057},{"_312":1054,"_314":1055},{"_312":1052,"_314":1053},{"_312":1050,"_314":1051},{"_312":1048,"_314":1049},"#6a685f",0.125,"#7d5c3e",0.1609,"#5f432c",0.2178,"#1f1d13",0.2457,"#3d2f22",0.2506,"sitges-aic-147478","Sitges",{"_42":1105,"_223":1106,"_326":1107,"_328":329,"_330":1108,"_332":1109,"_334":-5,"_336":-5,"_338":-5,"_140":103},"19th century","Oil on masonite","43.2 × 59.7 cm (17 × 23 1/2 in.); Framed: 51.7 × 68.3 × 4.5 cm (20 3/8 × 26 7/8 × 1 3/4 in.)",59,43,1.406020066889632,[1090,1091,1092,1093,1094],{"_222":504,"_223":505,"_42":506,"_305":507},"2019.1418","Juan Roig y Soler painted this in 19th century. It is now at the Art Institute of Chicago.","A work made of oil on masonite.",{"_296":1087,"_298":1088,"_300":1089},"https://img.ochreeditions.com/m/327.jpg?dl=1","/art/sitges-aic-147478","/galleries/style/neoclassicism/sitges-aic-147478",{"_292":293,"_294":295},{"_226":1082,"_125":1083,"_286":1084},{"_277":1079,"_279":1080,"_281":1064,"_282":1081},74,56.96241674595623,41.96241674595623,{"_288":226,"_123":1085,"_154":1086,"_140":89},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":166,"_154":165,"_140":85},"artist/contemporaries-of-juan-roig-y-soler","Juan Roig y Soler's contemporaries","https://img.ochreeditions.com/a/327/480.jpg","https://img.ochreeditions.com/a/327/960.jpg","https://img.ochreeditions.com/a/327/1920.jpg",{"_312":1103,"_314":1104},{"_312":1101,"_314":1102},{"_312":1099,"_314":1100},{"_312":1097,"_314":1098},{"_312":1095,"_314":1096},"#a4977f",0.0715,"#665c4b",0.1389,"#718888",0.1878,"#5b7b86",0.2826,"#82745e",0.3192,"Juan Roig y Soler","juan-roig-y-soler","Spanish, 1852–1909",1852,1909,"allegory-of-painting-nga-32679","Allegory of Painting",{"_42":575,"_223":576,"_326":577,"_328":399,"_330":578,"_332":579,"_334":580,"_336":580,"_338":581,"_140":93},"1765","overall: 101.5 x 130 cm (39 15/16 x 51 3/16 in.) framed: 129.5 x 157.5 cm (51 x 62 in.)",101.5,1.2692903625658507,[1138,1139,1140,1141,1142],{"_222":377,"_223":378,"_42":379,"_305":380},"1946.7.1","François Boucher painted this in 1765, aged 62. It is now at the National Gallery of Art in Washington, DC.","A young woman reclining on clouds draws a putto from life with a holder carrying white and black chalk, while her model, holding a torch and resting beside a quiver of arrows, eyes her from under his brows, like Cupid sitting for his portrait.","A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”",{"_296":1135,"_298":1136,"_300":1137},"https://img.ochreeditions.com/m/1475.jpg?dl=1","/art/allegory-of-painting-nga-32679","/galleries/style/neoclassicism/allegory-of-painting-nga-32679",{"_292":293,"_294":295},{"_226":1132,"_125":1133,"_286":1134},{"_277":549,"_279":1130,"_281":533,"_282":1131},117.41943359375,102.41943359375,{"_288":226,"_123":555,"_154":556,"_140":93},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":369,"_154":370,"_140":371},"https://img.ochreeditions.com/a/1475/480.jpg","https://img.ochreeditions.com/a/1475/960.jpg","https://img.ochreeditions.com/a/1475/1920.jpg",{"_312":1151,"_314":1152},{"_312":1149,"_314":1150},{"_312":1147,"_314":1148},{"_312":1145,"_314":1146},{"_312":1143,"_314":1144},"#774c35",0.1156,"#a57a66",0.1425,"#b5a18e",0.2025,"#738d94",0.2138,"#6f7161",0.3256,{"_1154":-5,"_1155":1156,"_1157":1158,"_1159":8,"_1160":1161,"_1162":8},"user","csrf","6879424a150d9a29811318fbc188f0c1b73143af","cartCount",0,"dropLive","legal",[1163,1164,1165,1166,1167,1168,1169,1170,1171,1172,1173,1174],"uploadsEnabled",{"_223":1197,"_20":1198},{"_223":1195,"_20":1196},{"_223":1193,"_20":1194},{"_223":1191,"_20":1192},{"_223":1189,"_20":1190},{"_223":1187,"_20":1188},{"_223":1185,"_20":1186},{"_223":1183,"_20":1184},{"_223":1181,"_20":1182},{"_223":1179,"_20":1180},{"_223":1177,"_20":1178},{"_223":1175,"_20":1176},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]