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Drawings of the 18th century

Drawings made in the 18th century, from every museum.

31 works · hang 3236 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. PSYCHE ASKS PROSERPINE TO PUT A LITTLE OF HER BEAUTY IN AN URN FOR VENUS
    Psyche Asks Proserpine to Put a Little of her Beauty in an Urn for VenusJohann August Nahl The Younger, ca. 1781Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. Germain-Augustin and Rose de Saint-Aubin, Drawn by Their Uncle, by Gabriel de Saint-Aubin, 1766
    Germain-Augustin and Rose de Saint-Aubin, Drawn by Their UncleGabriel de Saint-Aubin, 1766Courtesy of The Metropolitan Museum of Art
  3. Portrait of Emma Hamilton, by Angelica Kauffmann, 1791
    Portrait of Emma HamiltonAngelica Kauffmann, 1791Courtesy of The Metropolitan Museum of Art

Section 1, south wall

  1. Young Woman (possibly a Sex Worker) with a Man (recto); Young Woman Wringing Her Hands over a Man's Naked Body (verso), by Francisco Goya, 1796–97
    Young Woman (possibly a Sex Worker) with a Man (recto); Young Woman Wringing Her Hands over a Man's Naked Body (verso)Francisco Goya, 1796–97Courtesy of the Cleveland Museum of Art
  2. Invocation to Love, by Jean Honoré Fragonard, c. 1781
    Invocation to LoveJean Honoré Fragonard, c. 1781Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. The image shows a castle with a circular tower, a statue positioned on a pedestal on a path leading to the castle entrance. Tall trees flank the path, forming a natural archway. The castle walls have fortified turrets and an ornate gateway with intricate stonework and carvings. In the background, there are more trees and faint outlines of hills. The scene is in a monochromatic sepia tone, emphasizing depth and detail with subtle shading variations.
    A Stage Set with a Statue and a PalaceDaniel Marot the Younger, 1730s (?)Courtesy National Gallery of Art, Washington
  2. Scalinata della Trinità dei Monti, by Giovanni Paolo Panini, ca. 1756–58
    Scalinata della Trinità dei MontiGiovanni Paolo Panini, ca. 1756–58Courtesy of The Metropolitan Museum of Art
  3. Seated Woman, by Antoine Watteau, 1716–17
    Seated WomanAntoine Watteau, 1716–17Courtesy of The Metropolitan Museum of Art

Section 2, north wall

  1. STUDY FOR PAINTING, MOUNT OLYMPUS
    Study for Painting, Mount OlympusVito D'Anna, 1750–60Courtesy of Cooper Hewitt, Smithsonian Design Museum
  2. MADONNA AND SAINTS
    Madonna and SaintsSebastiano Conca, ca. 1730Courtesy of Cooper Hewitt, Smithsonian Design Museum
  3. PROJECT FOR THE PAINTED DECORATION OF THE CEILING OF A HALL (PAINTED OVAL CEILING)
    Project for the Painted Decoration of the Ceiling of a Hall (Painted Oval Ceiling)Jean Baptiste Marie Pierre, 1761Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 3, north wall

  1. The image shows an ancient ruin with arches and crumbling stonework surrounded by overgrown vegetation. The horizon is slightly elevated, emphasizing the towering remnants of the architecture. Expressive brushstrokes and textures are notable, especially in the vines and leaves on the stone. The color palette is subdued, mainly earthy tones and black, creating contrast and suggesting openings into the distance, enhancing the old, abandoned feel of the ruins.
    Arches of the Larger Baths at Hadrian's VillaCharles Michel-Ange Challe, c. 1748Courtesy National Gallery of Art, Washington
  2. The image shows a sketch of an architectural scene with structures lining a road or pathway. The horizon is not clearly defined, and the sketch focuses on architectural details. The drawing features loose, freehand lines outlining buildings and trees, with classical elements like columns and entablatures. The color palette is monochromatic, with light parchment and dark ink strokes creating contrast. Close-up details are lightly shaded for depth, while distant details are less defined. The composition is open and airy, emphasizing architectural features over precision.
    Ancient Ruins on the Bank of the TiberAugustin Pajou, 1752/1756Courtesy National Gallery of Art, Washington
  3. DESIGNS FOR ORNAMENTAL ARABESQUE MOTIFS
    Designs for Ornamental Arabesque MotifsEtienne de Lavallée-Poussin, 1770Courtesy of Cooper Hewitt, Smithsonian Design Museum

Section 3, south wall

  1. The image shows a forest by a serene, tree-lined body of water. The horizon is high with tall trees extending close to it, creating a sense of depth. The brushstrokes and watercolor application are delicate, capturing textures of leaves and water gently. The color palette includes muted greens, soft browns, and hints of blue and cream. Closest to us is a dense cluster of trees on the right, curving over the water. Across the water, other tree clusters and shrubs recede into the misty background towards the left.
    Peamore, DevonJohn White Abbott, 1799Courtesy National Gallery of Art, Washington
  2. This is a painting of an architectural scene with decorative and religious elements. The painting features a grand interior setting, possibly a church or cathedral, dominated by ornate columns and a ceiling structure. Figures appear on pedestals atop the columns. In the background, there is a depiction of a religious or ceremonial space with detailed balustrades and steps, where figures are shown in dynamic poses. The color palette consists of warm golden hues contrasted with cooler grey tones, highlighting the intricate details of the architecture and figures. This is in the style of Giovanni Battista Tiepolo.
    Worshippers at the Tomb of Saint PeterMatthäus Günther, 1740/1741Courtesy National Gallery of Art, Washington