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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 6558 ·

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

Walk this roomRehang this room

First room, north wall

  1. Large painting of soldier asleep outdoors surrounded by two women and a cupid.
    Armida Encounters the Sleeping RinaldoGiovanni Battista Tiepolo, c. 1742–45Courtesy of the Art Institute of Chicago
  2. 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

First room, south wall

  1. Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di Roma, by Giovanni Battista Nolli, 1748
    Nuova pianta di Roma data in luce da Giambattista Nolli l’anno MDCCXLVII, known as La Pianta Grande di RomaGiovanni Battista Nolli, 1748Courtesy of the Cleveland Museum of Art
  2. 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
  3. Sketch for "The Four Prophets of Israel" (for Il Gesù, Rome), by Giovanni Battista Gaulli, c. 1675–1677
    Sketch for "The Four Prophets of Israel" (for Il Gesù, Rome)Giovanni Battista Gaulli, c. 1675–1677Courtesy of the Cleveland Museum of Art

Second room, south wall

  1. Large painting of woman, in gold and pink dress, placing severed head on platter.
    Salome with the Head of Saint John the BaptistGuido Reni, c. 1639–42Courtesy of the Art Institute of Chicago
  2. A work made of etching in black on cream laid paper.
    Soldier in Profile Holding a Pike, from Capricci e habiti militariFilippo Napoletano, 1610/29Courtesy of the Art Institute of Chicago

Second room, north wall

  1. The Supper at Emmaus, by Giovanni Battista Piazzetta, c. 1720
    The Supper at EmmausGiovanni Battista Piazzetta, c. 1720Courtesy of the Cleveland Museum of Art
  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. ONE OF A SET OF TROPHIES OF WEAPONS OF WAR AS A DECORATION OF A HORIZONTAL PANEL
    One of a set of trophies of weapons of war as a decoration of a horizontal panelFrancesco Bedeschini, Italian, 1675-1699Courtesy of Cooper Hewitt, Smithsonian Design Museum

Third room, north wall

  1. Tobias and the Angel, by Francesco Guardi, 1750s
    Tobias and the AngelFrancesco Guardi, 1750sCourtesy of the Cleveland Museum of Art
  2. A work made of pen and brown ink and brush and brown wash, over graphite, on cream laid paper laid down on off-white laid paper.
    Antique Carved Marble Candelabra BaseAndrea di Lione, 1642/44 or 1647/51Courtesy of the Art Institute of Chicago
  3. ONE SET OF TROPHIES OF WEAPONS OF WAR AS A DECORATION FOR HORIZONTAL PANELS. INTENDED TO BE ENGRAVED
    One set of trophies of weapons of war as a decoration for horizontal panels. Intended to be engravedFrancesco Bedeschini, Italian, 1675-1699Courtesy of Cooper Hewitt, Smithsonian Design Museum
  4. A work made of black chalk with pen and brown ink on cream laid paper.
    Putto Holding StaffGuido Reni, n.d.Courtesy of the Art Institute of Chicago

Third room, south wall

  1. The Sacrifice of Isaac, Tobias and the Angel, The Angels Appearing to Abraham, Abraham Welcoming the Three Angels (painting series), by Francesco Guardi, 1750s
    The Sacrifice of Isaac, Tobias and the Angel, The Angels Appearing to Abraham, Abraham Welcoming the Three Angels (painting series)Francesco Guardi, 1750sCourtesy of the Cleveland Museum of Art
  2. A work made of red oil paint on ivory laid paper.
    The Angel Departing from the Family of Tobit (?)Giovanni Benedetto Castiglione, c. 1655Courtesy of the Art Institute of Chicago