Floor plan

Style galleriesNeoclassicism

Neoclassicism

Marie Emilie Coignet de Courson (1716–1806) with a Dog, by Jean Honoré Fragonard, ca. 1769
View of Rome, by Pierre Henri de Valenciennes, c. 1782–84
A work made of oil on canvas.
A work made of oil on panel.
A work made of engraving and etching in black on ivory wove paper.
The Artist in His Room at the Villa Medici, Rome, by Léon Cogniet, 1817
A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”

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. 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. 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
  3. A work made of oil on canvas.
    Manuel GodoyAgustin Esteve y Marqués, 1800–8Courtesy 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

First room, south wall

  1. 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
  2. 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
  3. A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”
    Allegory of PaintingFrançois Boucher, 1765Courtesy National Gallery of Art, Washington

Second 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. 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
  3. TROPHY WITH ECCLESIASTICAL OBJECTS
    Trophy with Ecclesiastical ObjectsRomolo Achille Liverani, 1830–1850Courtesy of Cooper Hewitt, Smithsonian Design Museum
  4. Overdoor Painting, by Pierre Rousseau, 1790s
    Overdoor PaintingPierre Rousseau, 1790sCourtesy of the Cleveland Museum of Art

Second room, north wall

  1. Waterfall at Terni, by Jean Baptiste Camille Corot, 1826
    Waterfall at TerniJean Baptiste Camille Corot, 1826Courtesy of The Metropolitan Museum of Art
  2. Portrait of Emma Hamilton, by Angelica Kauffmann, 1791
    Portrait of Emma HamiltonAngelica Kauffmann, 1791Courtesy 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

Third room, north wall

  1. 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
  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