Floor plan

Style galleriesNeoclassicism

Neoclassicism

A work made of oil on panel.
MARTYRDOM OF ST. ANDREW
Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), by Adélaïde Labille-Guiard, 1785
A work made of oil on canvas.
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 work made of pen and brown ink and black ink wash, with brown ink wash, on blued-white laid paper.
A work made of oil on canvas.

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.
    The Hanged MonkFrancisco Goya, c. 1810Courtesy of the Art Institute of Chicago
  2. MARTYRDOM OF ST. ANDREW
    Martyrdom of St. AndrewFrancesco Coghetti, 1825–50Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788), by Adélaïde Labille-Guiard, 1785
    Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carraux de Rosemond (1765–1788)Adélaïde Labille-Guiard, 1785Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. A work made of oil on canvas.
    ShipwreckAfter Eugène Isabey, 19th centuryCourtesy of the Art Institute of Chicago
  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. 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
  4. A work made of oil on canvas.
    Manuel GodoyAgustin Esteve y Marqués, 1800–8Courtesy of the Art Institute of Chicago

Second room, south wall

  1. 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
  2. God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E), by Francisco Goya, ca. 1816–20
    God save us from such a bitter fate; a bandit threatening a woman and a child with a knife, page 41 from the "Black Border Album" (E)Francisco Goya, ca. 1816–20Courtesy of The Metropolitan Museum of Art
  3. 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
  4. 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

Second room, north wall

  1. 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
  2. A work made of etching in black on ivory laid paper.
    Portrait of Le Roi MaratViller, c. 1795Courtesy of the Art Institute of Chicago
  3. 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

Third room, north wall

  1. The Antechamber of the Sala del Maggior Consiglio, by Francesco Guardi, ca. 1765–68
    The Antechamber of the Sala del Maggior ConsiglioFrancesco Guardi, ca. 1765–68Courtesy of The Metropolitan 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