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Neoclassicism

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

109 works · hang 3787 ·

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 etching in black on ivory laid paper.
    Portrait of Le Roi MaratViller, c. 1795Courtesy of the Art Institute of Chicago
  2. The image depicts a forest scene with large trees dominating the right side, two figures seated by a stream, rocky formations on the left, grazing animals in the distance, and a monochrome color palette of brown and espresso tones.
    A Shepherd and a Young Woman With Their Feet in a BrookSalomon Gessner, 1764Courtesy National Gallery of Art, Washington
  3. Seated Giant, by Francisco Goya, by 1818 (possibly 1814–18)
    Seated GiantFrancisco Goya, by 1818 (possibly 1814–18)Courtesy of The Metropolitan Museum of Art
  4. TROPHY WITH ECCLESIASTICAL OBJECTS
    Trophy with Ecclesiastical ObjectsRomolo Achille Liverani, 1830–1850Courtesy of Cooper Hewitt, Smithsonian Design Museum

First room, south wall

  1. 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
  2. Portrait of a Boy, ca. 1800
    Portrait of a BoyUnrecorded Italian maker, ca. 1800Courtesy of the Smithsonian American Art Museum
  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. 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. This image is a pencil sketch on paper with a monochrome palette of graphite gray. The viewer sees various scenes without a defined horizon line. The upper section shows figures in period clothing, possibly mid-19th century women's fashion. The middle area has abstract architectural forms. In the lower right corner, a sailing ship or boat is sketched with more detail than the rest. The drawing style consists of quick, expressive strokes. The image conveys multiple narrative or compositional ideas on a single sheet.
    Seaside StudiesEugène Isabey, 1830sCourtesy National Gallery of Art, Washington
  2. Cupid and Psyche, by Jacques-Louis David, 1817
    Cupid and PsycheJacques-Louis David, 1817Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. This oval painting shows a cherubic child floating mid-air with one leg bent and their arms outstretched. The cherub has curly hair, a round face, and pale skin dusted with rosy pink and light teal shadows. They are smiling gently. The cherub is nude with a draped cloth over one shoulder, and in one hand they hold a flaming torch. Surrounding the cherub are white birds in flight. The background consists of pale blue and soft white clouds, with blooming pink flowers and foliage on the pale green ground.
    Love as FollyJean Honoré Fragonard, c. 1773/1776Courtesy National Gallery of Art, Washington
  2. 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
  3. 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

Third room, north wall

  1. Condesa de Altamira and Her Daughter, María Agustina, by Francisco Goya, 1787–88
    Condesa de Altamira and Her Daughter, María AgustinaFrancisco Goya, 1787–88Courtesy of The Metropolitan 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. A woman wearing flowing, pastel-colored robes and two, winged, child-like putti gather on a bank of clouds among musical instruments and sheet music in this horizontal painting. The people all have pale, pink-tinged skin. The woman sits to our right of center, facing our left in profile. She has straight nose, a rounded chin, and her small, pink lips are closed. Her ash-blond hair is pulled back under a yellow band. A voluminous white robe falls away over her left shoulder, to our right, to reveal a firm breast and small pink nipple. Sky-blue drapery wraps over her far arm, and deep rose-pink cloth falls across her lap and onto the clouds around her. Her legs extend to our left, her toes pointed. She leans back on her left elbow, closer to us, and points with that index finger to a lyre she props against her knee with her other hand. One chubby, nude putto reaches forward to strum the strings. The other putto hovers above, holding a ring of laurel leaves up in one hand and a flute in the other. Both putti have chubby limbs and torsos, blond curls lifted as if in a breeze, and short, ice-blue wings. Both look at the woman. In the lower left corner, a helmet with a topaz-blue feather and the gold hilt of a sword sit near the woman’s feet. Beneath the woman’s lower leg, at the bottom center of the painting, is a gold horn encircled by another wreath of laurel leaves. Two white doves with wings spread support an open book of sheet music and two pink roses tucked under the woman’s bent elbow. Fog-gray clouds billow up both sides of the scene against a pale blue sky. The clouds on which the trio gathers are parchment brown shaded with mauve pink. The outer corners of the image are white, indicating that the corners of the canvas were rounded. The artist signed and dated the painting in the lower right corner, “F Boucher 1764.”
    Allegory of MusicFrançois Boucher, 1764Courtesy National Gallery of Art, Washington