Floor plan

Style galleriesNeoclassicism

Neoclassicism

RUSTIC INTERIOR: STAGE DESIGN FOR THE TEATRO DE' FELICINI, BOLOGNA
Seated Giant, by Francisco Goya, by 1818 (possibly 1814–18)
THE VIRGIN WITH THE CHILD
Tomb with Sphinxes and an Owl, by Louis Jean Desprez, c. 1779–84
Two Men Contemplating the Moon, by Caspar David Friedrich, ca. 1825–30
The Death of Socrates, by Jacques-Louis David, 1787
A work made of pen and brown ink, with traces of graphite, on tan wove paper, laid down on cream 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. 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
  2. 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
  3. THE VIRGIN WITH THE CHILD
    The Virgin with the ChildFortunato Duranti, 1820–1850Courtesy of Cooper Hewitt, Smithsonian Design Museum
  4. 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

First room, south wall

  1. Two Men Contemplating the Moon, by Caspar David Friedrich, ca. 1825–30
    Two Men Contemplating the MoonCaspar David Friedrich, ca. 1825–30Courtesy of The Metropolitan Museum of Art
  2. The Death of Socrates, by Jacques-Louis David, 1787
    The Death of SocratesJacques-Louis David, 1787Courtesy of The Metropolitan Museum of Art
  3. 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

Second room, south wall

  1. 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
  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. 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
  4. A work made of oil on panel.
    The Hanged MonkFrancisco Goya, c. 1810Courtesy of the Art Institute of Chicago

Second room, north wall

  1. The Afternoon Meal (La Merienda), by Luis Meléndez, ca. 1772
    The Afternoon Meal (La Merienda)Luis Meléndez, ca. 1772Courtesy of The Metropolitan Museum of Art
  2. A work made of handcolored etching in black on cream laid paper.
    The Grotto of Posillipo (La Grotta di Posillipo)Louis Jean Desprez, 1785/90Courtesy of the Art Institute of Chicago
  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

Third room, north wall

  1. View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
    View of RomePierre Henri de Valenciennes, c. 1782–84Courtesy of the Cleveland Museum of Art
  2. A woman with pale skin, wearing a silvery-gray dress adorned with white ribbons and light pink roses, stands looking out at us with a small, pug dog by her feet in this vertical portrait painting. The woman’s body is angled slightly to our right but she looks at us with dark eyes under faint, arched brows. Her nose is rounded, her cheeks smooth and flushed, and her pale pink lips are closed. Her face is framed in a cloud of nickel-gray hair, and tendrils curl down over her shoulders. She wears a wide-brimmed straw hat with a white ribbon set on the back of her head and slightly off to one side. The bodice of her dress has a low, curving neck. This area is loosely painted to create the impression of layers of lace. A band of intertwined pale pink roses and delicate green leaves borders the outer edge of the lace. The dress has long, tight sleeves with lace at the cuffs and the notably narrow waist is tied with a blush-pink ribbon. The full, silver skirt is picked up to create a row of puffs, like the top of a muffin, around her knees. Bunches of pink roses and white ribbons are nestled into the puffs, and below, the skirt falls in long, vertical pleats to her ankles. She wears white stockings and pointed, petal-pink shoes. In her left arm, on our right, she holds a closed fan loosely at her side, almost lost behind the skirt. She holds a pink carnation with a full bloom and a bud on a long, curving stem in her other hand, by her hip. A caramel-brown pug with a black face, wearing a pink collar lined with three bells, stands facing us with one front paw lifted, to our right of the woman's feet. The landscape is painted in tones of mint and sage green for grass beneath trees enclosing the space the woman stands in, sand brown for the ground, and icy blue for the sky above.
    The Marquesa de PontejosFrancisco Goya, c. 1786Courtesy National Gallery of Art, Washington