Floor plan

Style galleriesNeoclassicism

Neoclassicism

Joseph-Antoine Moltedo (born 1775), by Jean Auguste Dominique Ingres, ca. 1810
The image shows a rustic scene with a house, trees, and a figure washing near a stream. Two children stand in the middle distance next to a ladder. In the background are two thatched houses among trees. The drawing style is detailed with fine lines and cross-hatching, creating texture. The color palette is monochromatic in shades of black and gray, emphasizing light and shadow.
The Lictors Bringing Brutus the Bodies of his Sons, by Jacques-Louis David, 1787
TROPHY WITH ECCLESIASTICAL OBJECTS
Portrait of Mademoiselle Marie-Anne Adelaide Le Normand, by François Dumont, c. 1793
A work made of oil on canvas.
La Cervara, the Roman Campagna, by Jean Baptiste Camille Corot, c. 1830–31

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. Joseph-Antoine Moltedo (born 1775), by Jean Auguste Dominique Ingres, ca. 1810
    Joseph-Antoine Moltedo (born 1775)Jean Auguste Dominique Ingres, ca. 1810Courtesy of The Metropolitan Museum of Art
  2. The image shows a rustic scene with a house, trees, and a figure washing near a stream. Two children stand in the middle distance next to a ladder. In the background are two thatched houses among trees. The drawing style is detailed with fine lines and cross-hatching, creating texture. The color palette is monochromatic in shades of black and gray, emphasizing light and shadow.
    A Fisherman and Two Children in a Landscape with Thatched CottagesSalomon Gessner, 1764Courtesy National Gallery of Art, Washington
  3. 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
  4. TROPHY WITH ECCLESIASTICAL OBJECTS
    Trophy with Ecclesiastical ObjectsRomolo Achille Liverani, 1830–1850Courtesy of Cooper Hewitt, Smithsonian Design Museum

First room, south 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. A work made of oil on canvas.
    Mount Athos Carved as a Monument to Alexander the GreatPierre Henri de Valenciennes, 1796Courtesy of the Art Institute of Chicago
  3. La Cervara, the Roman Campagna, by Jean Baptiste Camille Corot, c. 1830–31
    La Cervara, the Roman CampagnaJean Baptiste Camille Corot, c. 1830–31Courtesy of the Cleveland Museum of Art

Second room, south wall

  1. The image shows a landscape with a wooden bridge crossing over a river in a valley. The scenery includes cliffs, trees, and flowing water below. The artwork features fine, detailed brushstrokes depicting the texture of the cliffs, foliage, and water. The color scheme is monochromatic with various shades of gray and sepia tones. Two figures are seen on the bridge, contributing to the sense of scale and activity in the serene setting.
    Im Höllenthal (In the Höllen Valley)Johann Christoph Erhard, 1818Courtesy National Gallery of Art, Washington
  2. 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
  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
  4. 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

Second room, north wall

  1. Cupid and Psyche, by Jacques-Louis David, 1817
    Cupid and PsycheJacques-Louis David, 1817Courtesy of the Cleveland Museum of Art
  2. A work made of pen and brown ink, with traces of graphite, on tan wove paper, laid down on cream wove paper.
    Sketches of Algerian MenEugène Delacroix, c. 1832Courtesy of the Art Institute of Chicago
  3. Monks in the Cloister of the Church of Gesù e Maria, Rome, by François Marius Granet, 1808
    Monks in the Cloister of the Church of Gesù e Maria, RomeFrançois Marius Granet, 1808Courtesy of The Metropolitan Museum of Art

Third room, north wall

  1. Young Woman (possibly a Sex Worker) with a Man (recto); Young Woman Wringing Her Hands over a Man's Naked Body (verso), by Francisco Goya, 1796–97
    Young Woman (possibly a Sex Worker) with a Man (recto); Young Woman Wringing Her Hands over a Man's Naked Body (verso)Francisco Goya, 1796–97Courtesy of the Cleveland Museum of Art
  2. 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