Floor plan

Style galleriesNeoclassicism

Neoclassicism

A work made of oil and ink on paper, laid down on canvas.
Monks in the Cloister of the Church of Gesù e Maria, Rome, by François Marius Granet, 1808
A work made of engraving in black on ivory wove paper.
A work made of pen and brown ink and black ink wash, with brown ink wash, on blued-white laid paper.
This is a drawing of a group of mythological figures in a ceremonial scene. The composition features multiple figures in various poses, centered around a symbolic gathering. The drawing is detailed, providing a classical representation of human forms, draped fabrics, and an animal. A plateau with trees is subtly depicted in the background. The figures display expressions ranging from serene to contemplative.
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.
Self-Portrait, by Francisco Goya, ca. 1796
Still Life with Fish, Bread, and Kettle, by Luis Meléndez, c. 1772

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 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
  2. 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
  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. A work made of pen and brown ink and black ink wash, with brown ink wash, on blued-white laid paper.
    Odysseus, at the Doors of Hades, Meets the Shades of Tiresias and AnticleaJohann Heinrich Lips, 1785Courtesy of the Art Institute of Chicago

First room, south wall

  1. This is a drawing of a group of mythological figures in a ceremonial scene. The composition features multiple figures in various poses, centered around a symbolic gathering. The drawing is detailed, providing a classical representation of human forms, draped fabrics, and an animal. A plateau with trees is subtly depicted in the background. The figures display expressions ranging from serene to contemplative.
    The Nursing of JupiterThéodore ChassériauCourtesy National Gallery of Art, Washington
  2. 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
  3. Self-Portrait, by Francisco Goya, ca. 1796
    Self-PortraitFrancisco Goya, ca. 1796Courtesy of The Metropolitan Museum of Art
  4. Still Life with Fish, Bread, and Kettle, by Luis Meléndez, c. 1772
    Still Life with Fish, Bread, and KettleLuis Meléndez, c. 1772Courtesy of the Cleveland Museum of Art

Second room, south 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. 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. A work made of graphite and pen and black ink, with touches of opaque, white watercolor on cream laid paper.
    Farmer Requesting Permission to Marry a Nobleman's DaughterGabriel de Saint-Aubin, 1761Courtesy of the Art Institute of Chicago
  4. 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

Second room, north wall

  1. A work made of soft ground etching, hard ground etching, aquatint, and roulette, printed from two plates in red-brown and black, on ivory laid 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
  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

Third room, north wall

  1. 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
  2. This painting shows a man standing upright, his body slightly turned to the right. He has pale skin and curled white hair under a large black hat, and he wears a long brown jacket over a yellow vest with a white ruffled neck and a wide blue-and-white striped sash over his torso. His pants are black, and he wears tall black boots with brown tops. His hands are covered by yellow gloves, and he is holding a tall, thin rifle on the left, its bottom on the ground. Next to him on the right is a white dog with brown spots and large brown ears. The dog is sitting, looking up at the man. The background features an outdoor setting, with a landscape of hazy hills in shades of pale green and blue below a white and gray sky. There is a tall, dark green tree behind the man, and the ground he stands on is brown.
    Charles IV of Spain as HuntsmanUnrecorded Spanish maker, c. 1799/1800Courtesy National Gallery of Art, Washington