Floor plan

Style galleriesNeoclassicism

Neoclassicism

Invocation to Love, by Jean Honoré Fragonard, c. 1781
A work made of oil on masonite.
A work made of oil on canvas.
A work made of engraving in black on ivory wove paper.
A work made of oil on canvas.
Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), by Adélaïde Labille-Guiard, 1789
PSYCHE ASKS PROSERPINE TO PUT A LITTLE OF HER BEAUTY IN AN URN FOR VENUS

The works in this room are listed below.

Works in this room

Europe turns back to Greece and Rome: clear line, calm figures and civic virtue.

First room, north wall

  1. Invocation to Love, by Jean Honoré Fragonard, c. 1781
    Invocation to LoveJean Honoré Fragonard, c. 1781Courtesy of the Cleveland Museum of Art
  2. A work made of oil on masonite.
    SitgesJuan Roig y Soler, 19th centuryCourtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    Manuel GodoyAgustin Esteve y Marqués, 1800–8Courtesy of the Art Institute of Chicago
  4. A work made of engraving in black on ivory wove paper.
    George Washington, Front View, from Oeuvre de CanovaAntonio Canova, 1817Courtesy of the Art Institute of Chicago

First room, south wall

  1. A work made of oil on canvas.
    Prancing HorseFollower of Jean Louis André Théodore Géricault, 1808–12Courtesy of the Art Institute of Chicago
  2. Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet), by Adélaïde Labille-Guiard, 1789
    Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet)Adélaïde Labille-Guiard, 1789Courtesy of The Metropolitan Museum of Art
  3. PSYCHE ASKS PROSERPINE TO PUT A LITTLE OF HER BEAUTY IN AN URN FOR VENUS
    Psyche Asks Proserpine to Put a Little of her Beauty in an Urn for VenusJohann August Nahl The Younger, ca. 1781Courtesy of Cooper Hewitt, Smithsonian Design Museum

Second room, south wall

  1. Charles Maurice de Talleyrand Périgord (1754–1838), Prince de Bénévent, by baron François Gérard, 1808
    Charles Maurice de Talleyrand Périgord (1754–1838), Prince de Bénéventbaron François Gérard, 1808Courtesy of The Metropolitan Museum of Art
  2. This painting shows a man standing upright, his body slightly turned to the right. He has pale skin and curled white hair under a large black hat, and he wears a long brown jacket over a yellow vest with a white ruffled neck and a wide blue-and-white striped sash over his torso. His pants are black, and he wears tall black boots with brown tops. His hands are covered by yellow gloves, and he is holding a tall, thin rifle on the left, its bottom on the ground. Next to him on the right is a white dog with brown spots and large brown ears. The dog is sitting, looking up at the man. The background features an outdoor setting, with a landscape of hazy hills in shades of pale green and blue below a white and gray sky. There is a tall, dark green tree behind the man, and the ground he stands on is brown.
    Charles IV of Spain as HuntsmanUnrecorded Spanish maker, c. 1799/1800Courtesy National Gallery of Art, Washington
  3. This image is a pencil sketch on paper with a monochrome palette of graphite gray. The viewer sees various scenes without a defined horizon line. The upper section shows figures in period clothing, possibly mid-19th century women's fashion. The middle area has abstract architectural forms. In the lower right corner, a sailing ship or boat is sketched with more detail than the rest. The drawing style consists of quick, expressive strokes. The image conveys multiple narrative or compositional ideas on a single sheet.
    Seaside StudiesEugène Isabey, 1830sCourtesy National Gallery of Art, Washington

Second room, north wall

  1. CATHEDRAL OF NOTRE DAME IN PARIS
    Cathedral of Notre Dame in ParisCharles Nicolas Ransonnette, 1825–1840Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. A work made of graphite, on tan wove paper, perimeter mounted on ivory laid paper.
    Sheet of Sketches: Cavalry Battles and Mounted SoldiersJean Louis André Théodore Géricault, 1813/14Courtesy of the Art Institute of Chicago
  3. The Billiard Room, by Nicolas Antoine Taunay, after 1810
    The Billiard RoomNicolas Antoine Taunay, after 1810Courtesy of The Metropolitan Museum of Art
  4. The image shows three figures. Two of them are embracing in the foreground, kneeling on the ground and facing each other in a kiss. The person on the left has curly hair and appears to be wearing a coat-like garment, while the person on the right has long hair tied back and is dressed in a long robe. The third figure emerges from the bushes in the background, with shoulder-length hair, wearing a dress with a sash and a light shawl or scarf over their head. The setting includes tall trees, shrubs, and a structure with columns and arches on the right side, suggesting a garden or courtyard. Rolling hills and cloudy skies are in the distant background.
    The Fortunate RescueDaniel Nikolaus Chodowiecki, 1791Courtesy National Gallery of Art, Washington

Third room, north wall

  1. The engraving depicts a gathering around a woman holding a child in her arms in an indoor setting with stone columns and an arched background. Another woman is next to her, looking towards her while leaning over what appears to be a child or possibly a doll on a small donkey. Surrounding the central woman are several children, some seated and playing on the floor. A dog is resting at the central woman's feet. The image features lush drapery, creating a warm and intimate setting. The style suggests classical or historical fashion, and there is an ornate border with ivy leaves. The text and emblem below likely contain relevant inscriptions.
    L'heureuse féconditéNicolas Delaunay, 1777Courtesy National Gallery of Art, Washington
  2. The image shows an etching of a forest scene with towering trees dominating the upper half. The horizon is not clearly visible due to dense foliage, but a line of trees and rocky outcrops in the distance provide a boundary. The fine lines and cross-hatching technique create detailed textures in the tree bark and foliage. The color palette is monochromatic, in shades of black and white emphasizing light and shadow. A large tree with a partially hollow trunk and figures scattered throughout the scene give a sense of scale and activity within the forest setting.
    Wooded Landscape with a Nymph and a SatyrSalomon Gessner, 1764Courtesy National Gallery of Art, Washington