Floor plan

Style galleriesNeoclassicism

Neoclassicism

Two Draft Horses with a Sleeping Driver, by Jean Louis André Théodore Géricault, 1820–22
RUSTIC INTERIOR: STAGE DESIGN FOR THE TEATRO DE' FELICINI, BOLOGNA
A work made of oil on panel.
The image shows an illustration of a rocky terrain with towering stone formations and dense foliage. The sky is textured and the scene is created using an etching technique with intricate linework. There are two figures in the scene, one appearing to climb or position near a rock, while the other observes. The color palette is monochromatic, using black on a white background to depict depth and dimension in the artwork.
A work made of conté crayon on gray-blue wove paper.
Overdoor Painting and Double-Leaf Doors, by Pierre Rousseau, 1790s
A work made of etching with roulette in black on ivory wove paper.

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. Two Draft Horses with a Sleeping Driver, by Jean Louis André Théodore Géricault, 1820–22
    Two Draft Horses with a Sleeping DriverJean Louis André Théodore Géricault, 1820–22Courtesy of The Metropolitan Museum of Art
  2. 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
  3. A work made of oil on panel.
    The Hanged MonkFrancisco Goya, c. 1810Courtesy of the Art Institute of Chicago
  4. The image shows an illustration of a rocky terrain with towering stone formations and dense foliage. The sky is textured and the scene is created using an etching technique with intricate linework. There are two figures in the scene, one appearing to climb or position near a rock, while the other observes. The color palette is monochromatic, using black on a white background to depict depth and dimension in the artwork.
    Landscape with a Fallen Tree (Paysage à l'arbre cassé)Hubert Robert, 1764Courtesy National Gallery of Art, Washington

First room, south wall

  1. A work made of conté crayon on gray-blue wove paper.
    Landscape with HaystacksConstant Troyon, n.d.Courtesy of the Art Institute of Chicago
  2. Overdoor Painting and Double-Leaf Doors, by Pierre Rousseau, 1790s
    Overdoor Painting and Double-Leaf DoorsPierre Rousseau, 1790sCourtesy of the Cleveland Museum of Art
  3. 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

Second room, south wall

  1. A work made of oil on canvas.
    Portrait of Constance PipeletJean Baptiste François Désoria, 1797Courtesy of the Art Institute of Chicago
  2. Marie Emilie Coignet de Courson (1716–1806) with a Dog, by Jean Honoré Fragonard, ca. 1769
    Marie Emilie Coignet de Courson (1716–1806) with a DogJean Honoré Fragonard, ca. 1769Courtesy of The Metropolitan Museum of Art
  3. The Kaunitz Sisters (Leopoldine, Caroline, and Ferdinandine), by Jean Auguste Dominique Ingres, 1818
    The Kaunitz Sisters (Leopoldine, Caroline, and Ferdinandine)Jean Auguste Dominique Ingres, 1818Courtesy of The Metropolitan Museum of Art
  4. Still Life with Fish, Bread, and Kettle, by Luis Meléndez, c. 1772
    Still Life with Fish, Bread, and KettleLuis Meléndez, c. 1772Courtesy of the Cleveland Museum of Art

Second 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. A work made of etching, roulette, and mezzotint in black on cream laid paper.
    The Large Self-PortraitJean Etienne Liotard, 1778/81Courtesy of the Art Institute of Chicago
  3. 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

Third room, north wall

  1. 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
  2. A work made of oil on canvas.
    Manuel GodoyAgustin Esteve y Marqués, 1800–8Courtesy of the Art Institute of Chicago