Floor plan

Style galleriesNeoclassicism, room 2

Neoclassicism, room 2

MARTYRDOM OF ST. ANDREW
A work made of oil on canvas.
A work made of etching, aquatint, drypoint and burin on ivory laid paper.
Overdoor Painting, by Pierre Rousseau, 1790s
A work made of etching with roulette in black on ivory wove paper.
View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
A work made of graphite, on tan wove paper, perimeter mounted on ivory laid paper.
The Antechamber of the Sala del Maggior Consiglio, by Francesco Guardi, ca. 1765–68

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. MARTYRDOM OF ST. ANDREW
    Martyrdom of St. AndrewFrancesco Coghetti, 1825–50Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. A work made of oil on canvas.
    Portrait of Constance PipeletJean Baptiste François Désoria, 1797Courtesy of the Art Institute of Chicago
  3. A work made of etching, aquatint, drypoint and burin on ivory laid paper.
    Pedro Romero killing the halted bull, plate 30 from The Art of BullfightingFrancisco Goya, 1814/16, published 1816Courtesy of the Art Institute of Chicago
  4. Overdoor Painting, by Pierre Rousseau, 1790s
    Overdoor PaintingPierre Rousseau, 1790sCourtesy of the Cleveland Museum of Art

First room, south wall

  1. A work made of etching with roulette in black on ivory wove paper.
    The Forest of RochecardonJean-Michel Grobon, 1800Courtesy of the Art Institute of Chicago
  2. View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
    View of RomePierre Henri de Valenciennes, c. 1782–84Courtesy of the Cleveland Museum of Art
  3. 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
  4. The Antechamber of the Sala del Maggior Consiglio, by Francesco Guardi, ca. 1765–68
    The Antechamber of the Sala del Maggior ConsiglioFrancesco Guardi, ca. 1765–68Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. 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
  2. Painting of bearded, ruddy-faced man in eighteenth century style clothing.
    Portrait of a Man in CostumeJean Honoré Fragonard, c. 1767–68Courtesy of the Art Institute of Chicago
  3. 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
  4. 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

Second room, north 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. Cupid and Psyche, by Jacques-Louis David, 1817
    Cupid and PsycheJacques-Louis David, 1817Courtesy of the Cleveland Museum of Art

Third room, north wall

  1. A work made of oil on canvas.
    Manuel GodoyAgustin Esteve y Marqués, 1800–8Courtesy of the Art Institute of Chicago
  2. We look up through an opening surrounded by a stone ledge, with clusters of people and clouds swirling into a blue sky up and away from us in this vertical, rectangular painting. From a distance, the scene looks like a complete illusion but up close, the people, clouds, and architecture are sketchily painted. The ledge running around the opening has a gold, oval medallion at each corner. Appearing to be carved from white stone, two bearded men with long hair recline against each medallion, flanking them to each side in front of large shells that curve up over the people and frames them. A few architectural structures extend up into the sky, including a pointed obelisk in the lower left corner, a pair of columns at the upper right, and what seems to be the mast of a ship at the top left. Most of the people have pale skin but some have more tan complexions, and a few, including those wearing feather headdresses near the upper left corner, have brown skin. The people wear windswept robes of pale, butter yellow, robin’s egg blue, rose pink, and ivory. The eye may drawn to a few vignettes, such as the man holding a rearing, chestnut-brown horse on the illusionistic ledge near the lower right, a nun wearing a white robe and holding a cross above him in the clouds, and, farthest away, a crowned person sitting on a throne.
    Wealth and Benefits of the Spanish Monarchy under Charles IIIGiovanni Battista Tiepolo, 1762Courtesy National Gallery of Art, Washington