Floor plan

Style galleriesNeoclassicism

Neoclassicism

The Lictors Bringing Brutus the Bodies of his Sons, by Jacques-Louis David, 1787
Small painting, friar shoots man with yellow pants as horse runs off.
CATHEDRAL OF NOTRE DAME IN PARIS
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.
The image features two men in military uniform engaging closely with each other. Both are shown from head to toe. The man on the left stands with his left leg forward, holding a rifle, and has his right arm around the shoulder of the other man. The man on the right has his right leg slightly bent, supporting his weight, and is holding a sword in his left hand. Each man has distinctive facial features. Both wear tall, elaborate military hats and detailed uniforms. The man on the left displays a strap over his shoulder, while the man on the right has intricate decorations on his jacket and trousers. In the background, there are a few more soldiers and part of a building to the left. The setting is monochromatic.
Manuel Osorio Manrique de Zuñiga (1784–1792), by Francisco Goya, 1787–88

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. 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. 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
  3. CATHEDRAL OF NOTRE DAME IN PARIS
    Cathedral of Notre Dame in ParisCharles Nicolas Ransonnette, 1825–1840Courtesy of Cooper Hewitt, Smithsonian Design Museum

First room, south wall

  1. 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
  2. The image features two men in military uniform engaging closely with each other. Both are shown from head to toe. The man on the left stands with his left leg forward, holding a rifle, and has his right arm around the shoulder of the other man. The man on the right has his right leg slightly bent, supporting his weight, and is holding a sword in his left hand. Each man has distinctive facial features. Both wear tall, elaborate military hats and detailed uniforms. The man on the left displays a strap over his shoulder, while the man on the right has intricate decorations on his jacket and trousers. In the background, there are a few more soldiers and part of a building to the left. The setting is monochromatic.
    Two GrenadiersVictor AdamCourtesy National Gallery of Art, Washington
  3. Manuel Osorio Manrique de Zuñiga (1784–1792), by Francisco Goya, 1787–88
    Manuel Osorio Manrique de Zuñiga (1784–1792)Francisco Goya, 1787–88Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. A work made of oil on canvas.
    Birth of BacchusKároly Markó, Sr., 1826 (?)Courtesy of the Art Institute of Chicago
  2. A work made of graphite, on tan wove paper, perimeter mounted on ivory laid paper.
    Sheet of Sketches: Cavalry Battles and Mounted SoldiersJean Louis André Théodore Géricault, 1813/14Courtesy of the Art Institute of Chicago
  3. 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
  4. A work made of black chalk and charcoal with stumping, heightened with white chalk (recto), and black chalk and charcoal with stumping (verso), on dark tan laid paper.
    Standing Academic Male Nude (recto); Sketch of Upper Arm (verso)Eugène Delacroix, 1816Courtesy of the Art Institute of Chicago

Second room, north wall

  1. 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
  2. A work made of engraving and etching in black on ivory wove paper.
    Ajax, Front View, from Oeuvre de CanovaAntonio Canova, 1817Courtesy of the Art Institute of Chicago
  3. We look up through an opening surrounded by a stone ledge, with clusters of people and clouds swirling into a blue sky up and away from us in this vertical, rectangular painting. From a distance, the scene looks like a complete illusion but up close, the people, clouds, and architecture are sketchily painted. The ledge running around the opening has a gold, oval medallion at each corner. Appearing to be carved from white stone, two bearded men with long hair recline against each medallion, flanking them to each side in front of large shells that curve up over the people and frames them. A few architectural structures extend up into the sky, including a pointed obelisk in the lower left corner, a pair of columns at the upper right, and what seems to be the mast of a ship at the top left. Most of the people have pale skin but some have more tan complexions, and a few, including those wearing feather headdresses near the upper left corner, have brown skin. The people wear windswept robes of pale, butter yellow, robin’s egg blue, rose pink, and ivory. The eye may drawn to a few vignettes, such as the man holding a rearing, chestnut-brown horse on the illusionistic ledge near the lower right, a nun wearing a white robe and holding a cross above him in the clouds, and, farthest away, a crowned person sitting on a throne.
    Wealth and Benefits of the Spanish Monarchy under Charles IIIGiovanni Battista Tiepolo, 1762Courtesy 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. 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
  3. Tomb with Sphinxes and an Owl, by Louis Jean Desprez, c. 1779–84
    Tomb with Sphinxes and an OwlLouis Jean Desprez, c. 1779–84Courtesy of the Cleveland Museum of Art