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Baroque and Rococo

Drama, movement and deep shadow in the 1600s, then the light, playful decoration of eighteenth-century Europe.

53 works · hang 1636 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. ONE OF A SET OF PROJECTS FOR A TITLE PAGE AND THE DECORATION OF A HORIZONTAL PANEL
    One of a set of projects for a title page and the decoration of a horizontal panelFrancesco Bedeschini, Italian, 1675-1699Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. A work made of etching on ivory laid paper.
    The Grotto of Pan and FameStefano della Bella, 1653/55Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    Portrait of a GirlFrancesco Solimena, c. 1700Courtesy of the Art Institute of Chicago

First room, south wall

  1. A work made of oil on canvas.
    The Ecstasy of Saint FrancisGiovanni Baglione, 1601Courtesy of the Art Institute of Chicago
  2. The Crucifixion of Saint Andrew, by Caravaggio, 1606–7
    The Crucifixion of Saint AndrewCaravaggio, 1606–7Courtesy of the Cleveland Museum of Art
  3. A work made of pen and brown ink and brush and brown wash, over black and red chalk, heightened with white opaque watercolor, on joined sheets of laid paper, mounted to paperboard.
    Allegory of the Elevation of Cardinal Deacon Oddone Colonna to the Papal Chair as Pope Martin VBenedetto Luti, 1700Courtesy of the Art Institute of Chicago

Second room, south wall

  1. The Sacrifice of Isaac, by Francesco Guardi, 1750s
    The Sacrifice of IsaacFrancesco Guardi, 1750sCourtesy of the Cleveland Museum of Art
  2. A work made of etching on ivory laid paper.
    View of the Villa of His Eminence Cardinal Alessandro Albani, outside Porta Salaria, from Views of RomeGiovanni Battista Piranesi, 1769, published 1800–07Courtesy of the Art Institute of Chicago
  3. This painting shows a seated elderly woman from the waist up. She faces us with a neutral expression. She has a fair complexion with visible wrinkles, rosy cheeks, and pink lips. Her hair is mostly covered by a white lace cap and a black headscarf. She wears a patterned reddish-brown garment with lace around the collar and sleeves, and her hands rest on a brown fur muff. The background is a dark gray-brown color with visible brushstrokes.
    Old Woman with a MuffUnrecorded French maker, second half 18th centuryCourtesy National Gallery of Art, Washington

Second room, north wall

  1. A work made of etching on heavy ivory laid paper.
    View of the Remains of the Praetorian Fort [the Poecile], Hadrian's Villa, Tivoli, from Views of RomeGiovanni Battista Piranesi, 1770Courtesy of the Art Institute of Chicago
  2. A work made of etching and engraving on heavy ivory laid paper.
    The Lion Bas-Reliefs, plate 5 from Imaginary PrisonsGiovanni Battista Piranesi, 1761Courtesy of the Art Institute of Chicago
  3. Study for "The Martyrdom of Saint Sebastian" (for the Augustinian monastery at Diessen, Germany), by Giovanni Battista Tiepolo, 1739
    Study for "The Martyrdom of Saint Sebastian" (for the Augustinian monastery at Diessen, Germany)Giovanni Battista Tiepolo, 1739Courtesy of the Cleveland Museum of Art

Third room, north wall

  1. A work made of oil on canvas.
    Antiochus Yearning for StratoniceStefano Pozzi, c. 1740Courtesy of the Art Institute of Chicago
  2. A work made of etching and aquatint, from three plates, in brown and black, with metallic gold, on ivory laid paper.
    The Triumph of Truth over EnvyMaria Katharina Prestel, 1781Courtesy of the Art Institute of Chicago

Third room, south wall

  1. Large painting of cupid being whipped, a woman tries to hold back the a man in red dress.
    Cupid ChastisedBartolomeo Manfredi, 1613Courtesy of the Art Institute of Chicago
  2. A work made of etching in black on cream laid paper.
    Holy Family with Saint Elizabeth and Saint John the BaptistElisabetta Sirani, 1650/60Courtesy of the Art Institute of Chicago