Ochre Editions
SearchSign inCart (0)

Neoclassicism

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

109 works · hang 3604 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. A work made of oil on canvas.
    Alexander at the Tomb of Cyrus the GreatPierre Henri de Valenciennes, 1796Courtesy of the Art Institute of Chicago
  2. A work made of etching in black on ivory laid paper.
    Portrait of Le Roi MaratViller, c. 1795Courtesy of the Art Institute of Chicago
  3. Portrait of Emma Hamilton, by Angelica Kauffmann, 1791
    Portrait of Emma HamiltonAngelica Kauffmann, 1791Courtesy of The Metropolitan Museum of Art
  4. A work made of oil on canvas.
    Birth of BacchusKároly Markó, Sr., 1826 (?)Courtesy of the Art Institute of Chicago

First room, south wall

  1. A work made of soft ground etching, with roulette, printed in red on white wove paper.
    Portrait of a Man in an Armchair, from Collection d'imitations de Dessins d'après les Principaux Maîtres Hollandais et FlamandsChristian Josi, 1826Courtesy of the Art Institute of Chicago
  2. A work made of oil on panel.
    The Hanged MonkFrancisco Goya, c. 1810Courtesy of the Art Institute of Chicago
  3. The Curious One, by Antoine Pierre Mongin, 1823
    The Curious OneAntoine Pierre Mongin, 1823Courtesy of the Cleveland Museum of Art
  4. 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

Second room, south wall

  1. A work made of soft ground etching, hard ground etching, aquatint, and roulette, printed from two plates in red-brown and black, on ivory laid paper.
    Portrait of a Man in an Armchair, from Collection d'imitations de Dessins d'après les Principaux Maîtres Hollandais et FlamandsChristian Josi, 1826Courtesy 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. A work made of oil on panel.
    Head of a Guillotined ManJean Louis André Théodore Géricault, 1818–19Courtesy of the Art Institute of Chicago
  4. A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”
    Allegory of PaintingFrançois Boucher, 1765Courtesy National Gallery of Art, Washington

Second room, north wall

  1. Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848), by Elisabeth Louise Vigée Le Brun, 1789
    Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848)Elisabeth Louise Vigée Le Brun, 1789Courtesy of The Metropolitan Museum of Art
  2. A work made of oil on canvas.
    Manuel GodoyAgustin Esteve y Marqués, 1800–8Courtesy of the Art Institute of Chicago

Third room, north wall

  1. 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
  2. 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