Floor plan

Style galleriesNeoclassicism

Neoclassicism

A work made of oil on panel.
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.
Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.
View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
A work made of etching, roulette, and mezzotint in black on cream laid paper.
A work made of engraving in black on ivory wove paper.
CATHEDRAL OF NOTRE DAME IN PARIS

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. A work made of oil on panel.
    Head of a Guillotined ManJean Louis André Théodore Géricault, 1818–19Courtesy of the Art Institute of Chicago
  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
  3. Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting. The color palette is dominated by moss and lemon-lime green, golden yellow, and spruce blue. The men all wear jackets with long tails over knee-breeches, and their long hair is pulled back at the napes of their necks. The women wear long dresses with full skirts and hints of lace at the sleeves and bust, and their brown or white hair is pulled up. Nine of the men and women gather to our right on a stone terrace along the bottom edge of the painting. A man in butter yellow kneels in front of a woman wearing rose pink. Around this pair, people stand, kneel, sit, or recline wearing aquamarine blue, light turquoise, or ivory white. A man and woman sit on a bench to our left, a little removed from the larger group. This woman wears ruby red and the man leaning toward her wears topaz blue. Two people in the park beyond these groups are painted with only a few strokes of pale blue and white paint, and they look over a low hedge row lining the walking path. Beds of red flowers fill the lower corners of the composition in front of a statue of a woman to our left and a person, perhaps on a fountain, to our right. The grassy walking path and trees become more blue as they fade into the hazy distance between the tall tress to either side. The sky fades from pale blue along the horizon to a silvery blue, almost white, at the top.
    A Game of Hot CocklesJean Honoré Fragonard, c. 1775/1780Courtesy National Gallery of Art, Washington

First room, south 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 work made of etching, roulette, and mezzotint in black on cream laid paper.
    The Large Self-PortraitJean Etienne Liotard, 1778/81Courtesy of the Art Institute of Chicago
  3. A work made of engraving in black on ivory wove paper.
    George Washington, Front View, from Oeuvre de CanovaAntonio Canova, 1817Courtesy of the Art Institute of Chicago
  4. CATHEDRAL OF NOTRE DAME IN PARIS
    Cathedral of Notre Dame in ParisCharles Nicolas Ransonnette, 1825–1840Courtesy of Cooper Hewitt, Smithsonian Design Museum

Second room, south wall

  1. The Artist in His Room at the Villa Medici, Rome, by Léon Cogniet, 1817
    The Artist in His Room at the Villa Medici, RomeLéon Cogniet, 1817Courtesy of the Cleveland Museum of Art
  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. Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), by Jacques-Louis David, 1788
    Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836)Jacques-Louis David, 1788Courtesy of The Metropolitan Museum of Art

Second 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. THE VIRGIN WITH THE CHILD
    The Virgin with the ChildFortunato Duranti, 1820–1850Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. 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

Third room, north wall

  1. 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
  2. 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
  3. A work made of oil and ink on paper, laid down on canvas.
    Sketch for The Revolt of CairoAnne-Louis Girodet de Roussy-Trioson, c. 1810Courtesy of the Art Institute of Chicago