Floor plan

Style galleriesNeoclassicism

Neoclassicism

A young woman with light skin stands in a garden, wearing a voluminous, full-length, silvery, shimmering gown in this vertical portrait painting. Her body faces us, as she looks into the distance to our left. She has rosy cheeks, gray-green eyes under gently arched, light brown brows, and her coral-pink, thin, closed lips curve in a slight smile. Her ash-brown hair is pulled back and adorned with tiny shell-pink and azure-blue flowers along the left side top of head, to our right. A pleated lace ruffle encircles her smooth neck. Her gown is parchment white where the light glints off the stiff fabric and is silvery gray in the shadows, creating a silk-like sheen. The dress is cut low across the chest, fits tightly around her narrow waist, and has puffy sleeves tied at the elbows with topaz-blue bows. Another blue bow is tied at her chest, and the ends wrap around her back along her waist. A corsage at her left shoulder, to our right, is a profusion of white flowers around a pale pink rose. In her other hand, to our left, she holds a straw hat with a shallow crown and a wide brim, trimmed with sky-blue ribbon. The arm holding the hat is nearly engulfed in the deep folds of her full skirt. She holds a pink rose in her other hand, which rests on the lip of a shiny, copper-colored urn filled with pink flowers and delicate green leaves. On that wrist she wears a bracelet with four strands of white pearls holding a cameo. She stands on a pale, dirt ground. A teal-blue bench in the lower left corner of the painting is tucked into sage-green shrubbery. Sprigs of pink roses are strewn across the seat and on the ground. The woman is framed to either side with olive and celery-green trees and vegetation, which blend into the hazy distance beyond her head.
CATHEDRAL OF NOTRE DAME IN PARIS
Portrait of white man dressed in all black with medallion and sword.
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.
A work made of oil on canvas.
A young woman and two children are shown from the waist up through an oval, stone opening, holding and looking at a wooden box with a lens protruding from one side in this square painting. All three people have pale skin with rosy cheeks. To our right, the young woman’s body is angled to our left as she braces the torso of a young girl. The young woman looks at us from the corners of her sage-green eyes, under lifted brows. Her small, pink mouth is pursed in a slight smile, and she has a faint dimple in her rounded chin. Her heather-gray hair is partially plaited over the crown of her head, and long curls fall over her shoulders. She wears a spruce-blue shawl over the shoulders of her low-cut, olive-green dress. The child she braces has chubby cheeks, and her wavy blond hair is brushed back from her forehead and falls loosely to her shoulders. She wears a blush-pink dress with ruffles on the half-length sleeves and gossamer-white trim around the neckline and cuffs. The top and side rails of a wooden, ladderback chair up against the inside of the opening suggests she stands or kneels on a backward-facing chair. She rests her left hand on the edge of the stone opening and her other hand on the wrist of the boy standing close behind her. Mostly in the shadow behind the others, the boy has small, pointed features and short, curly, sable-brown hair. He wears a tan coat, and a muted blue scarf is tied at his throat. The two children gaze at the wooden box the boy holds, which is about the size of a toaster. A short, cylindrical, brass-lined lens pokes out of the center of the side facing the trio. The oval opening through which we see them is carved on our side with stylized leaves and berries, and the wall around it is the same elephant gray as the carvings. The girl and the box cast a shadow across the opening. The artist signed and dated the painting in the lower left corner, “Amedee Can Loo./1764.”

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. A young woman with light skin stands in a garden, wearing a voluminous, full-length, silvery, shimmering gown in this vertical portrait painting. Her body faces us, as she looks into the distance to our left. She has rosy cheeks, gray-green eyes under gently arched, light brown brows, and her coral-pink, thin, closed lips curve in a slight smile. Her ash-brown hair is pulled back and adorned with tiny shell-pink and azure-blue flowers along the left side top of head, to our right. A pleated lace ruffle encircles her smooth neck. Her gown is parchment white where the light glints off the stiff fabric and is silvery gray in the shadows, creating a silk-like sheen. The dress is cut low across the chest, fits tightly around her narrow waist, and has puffy sleeves tied at the elbows with topaz-blue bows. Another blue bow is tied at her chest, and the ends wrap around her back along her waist. A corsage at her left shoulder, to our right, is a profusion of white flowers around a pale pink rose. In her other hand, to our left, she holds a straw hat with a shallow crown and a wide brim, trimmed with sky-blue ribbon. The arm holding the hat is nearly engulfed in the deep folds of her full skirt. She holds a pink rose in her other hand, which rests on the lip of a shiny, copper-colored urn filled with pink flowers and delicate green leaves. On that wrist she wears a bracelet with four strands of white pearls holding a cameo. She stands on a pale, dirt ground. A teal-blue bench in the lower left corner of the painting is tucked into sage-green shrubbery. Sprigs of pink roses are strewn across the seat and on the ground. The woman is framed to either side with olive and celery-green trees and vegetation, which blend into the hazy distance beyond her head.
    Madame BergeretFrançois Boucher, possibly 1766Courtesy National Gallery of Art, Washington
  2. CATHEDRAL OF NOTRE DAME IN PARIS
    Cathedral of Notre Dame in ParisCharles Nicolas Ransonnette, 1825–1840Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Portrait of white man dressed in all black with medallion and sword.
    Amédée-David, the Comte de PastoretJean Auguste Dominique Ingres, 1823–26Courtesy of the Art Institute of Chicago

First room, south wall

  1. 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.
    Ancient TeutonsDaniel Nikolaus Chodowiecki, 1782Courtesy National Gallery of Art, Washington
  2. A work made of oil on canvas.
    Portrait of Constance PipeletJean Baptiste François Désoria, 1797Courtesy of the Art Institute of Chicago
  3. A young woman and two children are shown from the waist up through an oval, stone opening, holding and looking at a wooden box with a lens protruding from one side in this square painting. All three people have pale skin with rosy cheeks. To our right, the young woman’s body is angled to our left as she braces the torso of a young girl. The young woman looks at us from the corners of her sage-green eyes, under lifted brows. Her small, pink mouth is pursed in a slight smile, and she has a faint dimple in her rounded chin. Her heather-gray hair is partially plaited over the crown of her head, and long curls fall over her shoulders. She wears a spruce-blue shawl over the shoulders of her low-cut, olive-green dress. The child she braces has chubby cheeks, and her wavy blond hair is brushed back from her forehead and falls loosely to her shoulders. She wears a blush-pink dress with ruffles on the half-length sleeves and gossamer-white trim around the neckline and cuffs. The top and side rails of a wooden, ladderback chair up against the inside of the opening suggests she stands or kneels on a backward-facing chair. She rests her left hand on the edge of the stone opening and her other hand on the wrist of the boy standing close behind her. Mostly in the shadow behind the others, the boy has small, pointed features and short, curly, sable-brown hair. He wears a tan coat, and a muted blue scarf is tied at his throat. The two children gaze at the wooden box the boy holds, which is about the size of a toaster. A short, cylindrical, brass-lined lens pokes out of the center of the side facing the trio. The oval opening through which we see them is carved on our side with stylized leaves and berries, and the wall around it is the same elephant gray as the carvings. The girl and the box cast a shadow across the opening. The artist signed and dated the painting in the lower left corner, “Amedee Can Loo./1764.”
    The Camera ObscuraCharles Amédée Philippe Van Loo, 1764Courtesy National Gallery of Art, Washington

Second room, south wall

  1. The Lictors Bringing Brutus the Bodies of his Sons, by Jacques-Louis David, 1787
    The Lictors Bringing Brutus the Bodies of his SonsJacques-Louis David, 1787Courtesy of The Metropolitan Museum of Art
  2. Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.
    A Game of Hot CocklesJean Honoré Fragonard, c. 1775/1780Courtesy National Gallery of Art, Washington
  3. 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

Second room, north wall

  1. Portrait of Mademoiselle Marie-Anne Adelaide Le Normand, by François Dumont, c. 1793
    Portrait of Mademoiselle Marie-Anne Adelaide Le NormandFrançois Dumont, c. 1793Courtesy of the Cleveland Museum of Art
  2. Waterfall at Terni, by Jean Baptiste Camille Corot, 1826
    Waterfall at TerniJean Baptiste Camille Corot, 1826Courtesy of The Metropolitan Museum of Art
  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
  4. 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

Third room, north 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. A work made of handcolored etching in black on cream laid paper.
    The Grotto of Posillipo (La Grotta di Posillipo)Louis Jean Desprez, 1785/90Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    ShipwreckAfter Eugène Isabey, 19th centuryCourtesy of the Art Institute of Chicago