Floor plan

Style galleriesNeoclassicism

Neoclassicism

Invocation to Love, by Jean Honoré Fragonard, c. 1781
A work made of oil on canvas.
A work made of graphite and pen and black ink, with touches of opaque, white watercolor on cream laid paper.
Waterfall at Terni, by Jean Baptiste Camille Corot, 1826
A work made of oil on panel.
The Afternoon Meal (La Merienda), by Luis Meléndez, ca. 1772
RUSTIC INTERIOR: STAGE DESIGN FOR THE TEATRO DE' FELICINI, BOLOGNA

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 canvas.
    Mount Athos Carved as a Monument to Alexander the GreatPierre Henri de Valenciennes, 1796Courtesy of the Art Institute of Chicago
  3. A work made of graphite and pen and black ink, with touches of opaque, white watercolor on cream laid paper.
    Farmer Requesting Permission to Marry a Nobleman's DaughterGabriel de Saint-Aubin, 1761Courtesy of the Art Institute of Chicago
  4. Waterfall at Terni, by Jean Baptiste Camille Corot, 1826
    Waterfall at TerniJean Baptiste Camille Corot, 1826Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. A work made of oil on panel.
    The Hanged MonkFrancisco Goya, c. 1810Courtesy of the Art Institute of Chicago
  2. The Afternoon Meal (La Merienda), by Luis Meléndez, ca. 1772
    The Afternoon Meal (La Merienda)Luis Meléndez, ca. 1772Courtesy of The Metropolitan Museum of Art
  3. RUSTIC INTERIOR: STAGE DESIGN FOR THE TEATRO DE' FELICINI, BOLOGNA
    Rustic Interior: Stage Design for the Teatro de' Felicini, BolognaAntonio Giuseppe Basoli, ca. 1810Courtesy of Cooper Hewitt, Smithsonian Design Museum

Second room, south wall

  1. Marie Antoinette in a Park, by Elisabeth Louise Vigée Le Brun, ca. 1780–81
    Marie Antoinette in a ParkElisabeth Louise Vigée Le Brun, ca. 1780–81Courtesy of The Metropolitan Museum of Art
  2. This oval painting depicts a cherubic child in a garden setting. The child is standing with one foot in front of the other and has small wings on their back. The child has light skin, curly blond hair, rosy cheeks, and a playful expression. They are mostly nude, except for a cloth that wraps around their back and covers their groin. The child is holding a golden arrow. They are standing in front of a light green bush with pink flowers. In the bottom left, there is a dark blue object in the green grass that looks like a torch or cylindrical quiver. The setting includes lush greenery and more clusters of pink and white flowers. The background features a pastel blue sky with soft pink clouds and two white doves flying above.
    Love the SentinelJean Honoré Fragonard, c. 1773/1776Courtesy National Gallery of Art, Washington
  3. The Curious One, by Antoine Pierre Mongin, 1823
    The Curious OneAntoine Pierre Mongin, 1823Courtesy of the Cleveland 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

Second room, north wall

  1. 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
    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)Francisco Goya, ca. 1816–20Courtesy of The Metropolitan Museum of Art
  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. Small painting, friar shoots man with yellow pants as horse runs off.
    Friar Pedro Shoots El Maragato as His Horse Runs OffFrancisco Goya, c. 1806Courtesy of the Art Institute of Chicago

Third room, north wall

  1. Overdoor Painting, by Pierre Rousseau, 1790s
    Overdoor PaintingPierre Rousseau, 1790sCourtesy of the Cleveland Museum of Art
  2. Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.
    MoonlightClaude-Joseph Vernet, 1772Courtesy National Gallery of Art, Washington