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Her arms and the cloth extend forward beyond the oval frame that encircles the trio, as if the frame is a window or porthole that she is reaching out of. On the right, a boy leans on the girl's shoulder, also facing to the left, seen in profile. He has light brown, curly hair and a fair complexion. He wears a dark blue-green jacket over a white collar, and he is looking upward towards the third child. On the left, another boy, who also has light skin and light brown curly hair, appears to stand on a chair above the other two children. He is holding a long yellow straw up to his lips. At the other end of the straw, a large bubble hangs over the white cloth that the girl holds out. In his other hand is a small white dish. He wears a muted brown outfit with a dark cloth wrapped around him. The background within the frame is plain gray, and the frame that surrounds the children is light gray and appears to be carved with leaf designs. 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Little is known of her early years, but by 1790 she had already established a strong following in Paris.","source","Text from the Cleveland Museum of Art.","cma","cleveland-museum-of-art","Cleveland Museum of Art","Cleveland",{"_312":399,"_314":400},{"_312":397,"_314":398},{"_312":395,"_314":396},{"_312":393,"_314":394},{"_312":391,"_314":392},"#c2b5a0",0.0824,"#656f6c",0.0941,"#584733",0.1572,"#a2aab2",0.227,"#1d1a19",0.4393,"François Dumont","francois-dumont","French, 1751–1831",1751,1831,"rays-of-sunlight-striking-a-woodland-path-nga-139126","Rays of Sunlight Striking a Woodland Path",{"_42":462,"_222":463,"_326":464,"_328":465,"_330":466,"_332":467,"_334":-5,"_335":-5,"_336":-5,"_140":103},"c. 1815",19,"switzerland","drawing","Drawing","watercolor with pen and black ink over graphite on wove paper","sheet: 42.8 x 34 cm (16 7/8 x 13 3/8 in.)",34,42.8,0.80078125,[447,448,449,450,451],{"_221":302,"_222":303,"_42":304,"_305":306},"2007.111.32","Friedrich Salathé painted this in about 1815, aged 22. It is now at the National Gallery of Art in Washington, DC.","The image shows a dense, forested area with towering trees. The composition leads the eye along a pathway into the distance, without a distinct horizon line. The intricate brushstrokes depict the texture and foliage of the trees, suggesting movement and light filtering through the leaves. The color palette is rich and earthy, with shades of green, brown, yellow, and orange, creating a vibrant yet tranquil atmosphere emphasizing light and shadow.",{"_296":444,"_298":445,"_300":446},"https://img.ochreeditions.com/m/1668.jpg?dl=1","/art/rays-of-sunlight-striking-a-woodland-path-nga-139126","/galleries/style/neoclassicism/rays-of-sunlight-striking-a-woodland-path-nga-139126",{"_292":374,"_294":375},{"_225":434,"_125":435,"_286":436},{"_277":431,"_279":432,"_281":433,"_282":417},58.2734375,66.8,34.2734375,{"_288":225,"_123":442,"_154":443,"_140":89},{"_288":125,"_123":439,"_154":440,"_140":441},{"_288":286,"_123":437,"_154":438,"_140":95},"era/19-switzerland","19th-century Switzerland","style/drawing-19","More drawings of the 19th century",92,"artist/contemporaries-of-friedrich-salathe","Friedrich Salathé's contemporaries","https://img.ochreeditions.com/a/1668/480.jpg","https://img.ochreeditions.com/a/1668/960.jpg","https://img.ochreeditions.com/a/1668/1920.jpg",{"_312":460,"_314":461},{"_312":458,"_314":459},{"_312":456,"_314":457},{"_312":454,"_314":455},{"_312":452,"_314":453},"#aea78b",0.1633,"#d7cbb0",0.1808,"#767956",0.1857,"#7c7d6b",0.2022,"#5d6353",0.268,"Friedrich Salathé","friedrich-salathe","Swiss, 1793–1858","Swiss",1793,1858,"seaside-studies-nga-144396","Seaside Studies",{"_42":518,"_222":519,"_326":520,"_328":329,"_330":521,"_332":522,"_334":-5,"_335":-5,"_336":-5,"_140":103},"1830s","charcoal with traces of pen and brown ink and brown wash on laid paper","sheet: 37.1 x 51.4 cm (14 5/8 x 20 1/4 in.)",51.4,37.1,1.3875338753387534,[503,504,505,506,507],{"_221":302,"_222":303,"_42":304,"_305":306},"2009.74.3","Eugène Isabey drew this in the 1830s, aged about 27. It is now at the National Gallery of Art in Washington, DC.","This image is a pencil sketch on paper with a monochrome palette of graphite gray. The viewer sees various scenes without a defined horizon line. The upper section shows figures in period clothing, possibly mid-19th century women's fashion. The middle area has abstract architectural forms. In the lower right corner, a sailing ship or boat is sketched with more detail than the rest. The drawing style consists of quick, expressive strokes. The image conveys multiple narrative or compositional ideas on a single sheet.",{"_296":500,"_298":501,"_300":502},"https://img.ochreeditions.com/m/1675.jpg?dl=1","/art/seaside-studies-nga-144396","/galleries/style/neoclassicism/seaside-studies-nga-144396",{"_292":374,"_294":375},{"_225":492,"_125":493,"_286":494},{"_277":489,"_279":490,"_281":474,"_282":491},75.4,61.044140625,37.044140625,{"_288":225,"_123":498,"_154":499,"_140":89},{"_288":125,"_123":439,"_154":440,"_140":441},{"_288":286,"_123":495,"_154":496,"_140":497},"era/19-france","19th-century France",237,"artist/contemporaries-of-eugene-isabey","Eugène Isabey's contemporaries","https://img.ochreeditions.com/a/1675/480.jpg","https://img.ochreeditions.com/a/1675/960.jpg","https://img.ochreeditions.com/a/1675/1920.jpg",{"_312":516,"_314":517},{"_312":514,"_314":515},{"_312":512,"_314":513},{"_312":510,"_314":511},{"_312":508,"_314":509},"#7e776f",0.0132,"#a39d93",0.036,"#bbb6ad",0.089,"#c9c4ba",0.2775,"#cdc9c2",0.5843,"Eugène Isabey","eugene-isabey","French, 1803–1886",1803,1886,"wooded-landscape-with-a-nymph-and-a-satyr-nga-94132","Wooded Landscape with a Nymph and a Satyr",{"_42":574,"_222":575,"_326":576,"_328":465,"_330":577,"_332":578,"_334":-5,"_335":-5,"_336":579,"_140":99},"print","Print","etching on laid paper tinted pale blue","plate: 20.8 x 19 cm (8 3/16 x 7 1/2 in.) sheet: 29.5 x 26 cm (11 5/8 x 10 1/4 in.)",20.8,0.9117571391818884,[559,560,561,562,563],{"_221":302,"_222":303,"_42":304,"_305":306},"1996.12.8","Salomon Gessner made this in 1764, aged 34. It is now at the National Gallery of Art in Washington, DC.","The image shows an etching of a forest scene with towering trees dominating the upper half. The horizon is not clearly visible due to dense foliage, but a line of trees and rocky outcrops in the distance provide a boundary. The fine lines and cross-hatching technique create detailed textures in the tree bark and foliage. The color palette is monochromatic, in shades of black and white emphasizing light and shadow. A large tree with a partially hollow trunk and figures scattered throughout the scene give a sense of scale and activity within the forest setting.",{"_296":556,"_298":557,"_300":558},"https://img.ochreeditions.com/m/1628.jpg?dl=1","/art/wooded-landscape-with-a-nymph-and-a-satyr-nga-94132","/galleries/style/neoclassicism/wooded-landscape-with-a-nymph-and-a-satyr-nga-94132",{"_292":374,"_294":375},{"_225":546,"_125":547,"_286":548},{"_277":544,"_279":364,"_281":545,"_282":366},46.793928479547205,22.79392847954721,{"_288":225,"_123":554,"_154":555,"_140":99},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":549,"_154":550,"_140":89},"era/18-switzerland","18th-century Switzerland","style/print-18","More prints of the 18th century",129,"artist/salomon-gessner","More by Salomon Gessner","https://img.ochreeditions.com/a/1628/480.jpg","https://img.ochreeditions.com/a/1628/960.jpg","https://img.ochreeditions.com/a/1628/1920.jpg",{"_312":572,"_314":573},{"_312":570,"_314":571},{"_312":568,"_314":569},{"_312":566,"_314":567},{"_312":564,"_314":565},"#a09381",0.101,"#827667",0.1751,"#51483e",0.2074,"#cfc2a9",0.2513,"#685e51",0.2652,"Salomon Gessner","salomon-gessner","Swiss, 1730–1788",1730,1788,"Gessner was a Zurich poet, painter and etcher whose prose Idylls, gentle pastoral scenes of shepherds and nymphs, were translated across Europe and made him one of the most widely read writers of his day.","seated-giant-met-334002","Seated Giant",{"_42":639,"_222":640,"_326":641,"_328":642,"_330":643,"_332":644,"_334":645,"_335":646,"_336":647,"_140":81},"by 1818 (possibly 1814–18)","spain","Prints","Burnished aquatint, scaper, roulette, lavis (along the top of the landscape and within the landscape)","Plate: 11 3/16 × 8 3/16 in. (28.4 × 20.8 cm) Framed: 21 3/4 × 19 in. (55.2 × 48.3 cm)",28.4,0.7007743362831859,[624,625,626,627,628],{"_221":620,"_222":621,"_42":622,"_305":623},"Courtesy of The Metropolitan Museum of Art","35.42","Francisco Goya made this (by 1818 (possibly 1814–18)), aged 72. It is now at The Met in New York.","A colossal nude figure sits on the edge of the world, turning to look back over his shoulder, while a tiny landscape lies at his feet. Goya created the image in burnished aquatint, scraping and polishing light out of a dark tonal ground so that the giant seems to emerge from the night.","Seated Giant, by Francisco Goya, by 1818 (possibly 1814–18)",{"_296":617,"_298":618,"_300":619},"https://img.ochreeditions.com/m/989.jpg?dl=1","/art/seated-giant-met-334002","/galleries/style/neoclassicism/seated-giant-met-334002",{"_292":374,"_294":375},{"_225":607,"_125":608,"_286":609},{"_277":604,"_279":605,"_281":606,"_282":588},43.90199115044248,52.4,19.901991150442477,{"_288":225,"_123":615,"_154":616,"_140":81},{"_288":125,"_123":612,"_154":613,"_140":614},{"_288":286,"_123":610,"_154":611,"_140":87},"era/19-spain","19th-century Spain","style/print-19","More prints of the 19th century",159,"artist/francisco-goya","More by Francisco Goya","https://img.ochreeditions.com/a/989/480.jpg","https://img.ochreeditions.com/a/989/960.jpg","https://img.ochreeditions.com/a/989/1920.jpg","met","the-met","The Metropolitan Museum of Art","New York",{"_312":637,"_314":638},{"_312":635,"_314":636},{"_312":633,"_314":634},{"_312":631,"_314":632},{"_312":629,"_314":630},"#584e43",0.1619,"#c2b29c",0.169,"#716352",0.207,"#94846f",0.2088,"#e9dbc1",0.2533,"Francisco Goya","francisco-goya","Spanish, 1746–1828","Spanish",1746,1828,"Fuendetodos","Bordeaux","Goya began with tapestry designs for the royal factory in Madrid and rose to become first painter to the Spanish court under Charles IV. After a serious illness left him deaf in the 1790s, his work grew darker and more personal.","a-fisherman-and-two-children-in-a-landscape-with-thatched-co-nga-94134","A Fisherman and Two Children in a Landscape with Thatched Cottages",{"_42":574,"_222":575,"_326":576,"_328":465,"_330":577,"_332":578,"_334":-5,"_335":-5,"_336":579,"_140":99},"etching on laid paper","plate: 21.4 x 18.9 cm (8 7/16 x 7 7/16 in.) sheet: 29.5 x 26 cm (11 5/8 x 10 1/4 in.)",18.9,21.4,0.8924433249370277,[675,676,677,678,679],{"_221":302,"_222":303,"_42":304,"_305":306},"1996.12.2","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.",{"_296":672,"_298":673,"_300":674},"https://img.ochreeditions.com/m/1630.jpg?dl=1","/art/a-fisherman-and-two-children-in-a-landscape-with-thatched-co-nga-94134","/galleries/style/neoclassicism/a-fisherman-and-two-children-in-a-landscape-with-thatched-co-nga-94134",{"_292":374,"_294":375},{"_225":669,"_125":670,"_286":671},{"_277":667,"_279":364,"_281":668,"_282":366},46.31108312342569,22.311083123425693,{"_288":225,"_123":554,"_154":555,"_140":99},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":549,"_154":550,"_140":89},"https://img.ochreeditions.com/a/1630/480.jpg","https://img.ochreeditions.com/a/1630/960.jpg","https://img.ochreeditions.com/a/1630/1920.jpg",{"_312":688,"_314":689},{"_312":686,"_314":687},{"_312":684,"_314":685},{"_312":682,"_314":683},{"_312":680,"_314":681},"#ac9b84",0.1357,"#8e7f6d",0.1664,"#76695a",0.1848,"#5e5448",0.1861,"#d7c3a5",0.327,"mount-athos-carved-as-a-monument-to-alexander-the-great-aic-100061","Mount Athos Carved as a Monument to Alexander the Great",{"_42":743,"_222":744,"_326":745,"_328":329,"_330":746,"_332":747,"_334":-5,"_335":-5,"_336":748,"_140":97},"1796","Oil on canvas","41.9 × 91.4 cm (16 1/2 × 36 in.); Framed: 59.4 × 109 × 7.7 cm (23 3/8 × 42 7/8 × 3 in.)",91,41,2.213252314814815,[728,729,730,731,732],{"_221":724,"_222":725,"_42":726,"_305":727},"Courtesy of the Art Institute of Chicago","1983.36","Pierre Henri de Valenciennes painted this in 1796, aged 46. It is now at the Art Institute of Chicago.","The architect Dinocrates is said to have proposed to Alexander the Great that Mount Athos be carved into a colossal statue of the king, holding a city in one hand and in the other a bowl from which a river would pour.","A work made of oil on canvas.",{"_296":721,"_298":722,"_300":723},"https://img.ochreeditions.com/m/260.jpg?dl=1","/art/mount-athos-carved-as-a-monument-to-alexander-the-great-aic-100061","/galleries/style/neoclassicism/mount-athos-carved-as-a-monument-to-alexander-the-great-aic-100061",{"_292":293,"_294":295},{"_225":716,"_125":717,"_286":718},{"_277":713,"_279":714,"_281":696,"_282":715},106,56.11596287096352,41.11596287096352,{"_288":225,"_123":719,"_154":720,"_140":97},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/pierre-henri-de-valenciennes","More by Pierre Henri de Valenciennes","https://img.ochreeditions.com/a/260/480.jpg","https://img.ochreeditions.com/a/260/960.jpg","https://img.ochreeditions.com/a/260/1920.jpg","aic","art-institute-of-chicago","Art Institute of Chicago","Chicago",{"_312":741,"_314":742},{"_312":739,"_314":740},{"_312":737,"_314":738},{"_312":735,"_314":736},{"_312":733,"_314":734},"#6e5426",0.1401,"#5a4f31",0.1476,"#887965",0.1638,"#ad997f",0.2532,"#433410",0.2953,"Pierre Henri de Valenciennes","pierre-henri-de-valenciennes","French, 1750–1819",1750,1819,"Valenciennes was the leading theorist of French historical landscape.","the-fortunate-rescue-nga-57440","The Fortunate Rescue",{"_42":797,"_222":798,"_326":799,"_328":800,"_330":801,"_332":802,"_334":-5,"_335":-5,"_336":-5,"_140":101},"1791","germany","etching",0.62646484375,[782,783,784,785,786],{"_221":302,"_222":303,"_42":304,"_305":306},"1979.59.4","Daniel Nikolaus Chodowiecki made this in 1791, aged 65. It is now at the National Gallery of Art in Washington, DC.","The image shows three figures. Two of them are embracing in the foreground, kneeling on the ground and facing each other in a kiss. The person on the left has curly hair and appears to be wearing a coat-like garment, while the person on the right has long hair tied back and is dressed in a long robe. The third figure emerges from the bushes in the background, with shoulder-length hair, wearing a dress with a sash and a light shawl or scarf over their head. The setting includes tall trees, shrubs, and a structure with columns and arches on the right side, suggesting a garden or courtyard. Rolling hills and cloudy skies are in the distant background.",{"_296":779,"_298":780,"_300":781},"https://img.ochreeditions.com/m/1592.jpg?dl=1","/art/the-fortunate-rescue-nga-57440","/galleries/style/neoclassicism/the-fortunate-rescue-nga-57440",{"_292":374,"_294":375},{"_225":772,"_125":773,"_286":774},{"_277":768,"_279":769,"_281":770,"_282":771},61.587890625,84,37.587890625,60,{"_288":225,"_123":777,"_154":778,"_140":89},{"_288":125,"_123":551,"_154":552,"_140":553},{"_288":286,"_123":775,"_154":776,"_140":85},"era/18-germany","18th-century Germany","artist/contemporaries-of-daniel-nikolaus-chodowiecki","Daniel Nikolaus Chodowiecki's contemporaries","https://img.ochreeditions.com/a/1592/480.jpg","https://img.ochreeditions.com/a/1592/960.jpg","https://img.ochreeditions.com/a/1592/1920.jpg",{"_312":795,"_314":796},{"_312":793,"_314":794},{"_312":791,"_314":792},{"_312":789,"_314":790},{"_312":787,"_314":788},"#6d635a",0.1609,"#877c6f",0.1781,"#a39686",0.1836,"#c1b4a2",0.202,"#f3e6cf",0.2754,"Daniel Nikolaus Chodowiecki","daniel-nikolaus-chodowiecki","German, 1726–1801","German",1726,1801,"la-cervara-the-roman-campagna-cma-140078","La Cervara, the Roman Campagna",{"_42":855,"_222":856,"_326":857,"_328":329,"_330":858,"_332":859,"_334":860,"_335":860,"_336":861,"_140":87},"c. 1830–31","oil on fabric","Framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); Unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.)",135.8,97.6,1.3945857260049221,[840,841,842,843,844],{"_221":382,"_222":383,"_42":384,"_305":385},"1963.91","Jean Baptiste Camille Corot painted this in about 1830–31, aged about 34. It is now at the Cleveland Museum of Art.",{"_118":839,"_380":381},"La Cervara, the Roman Campagna, by Jean Baptiste Camille Corot, c. 1830–31",{"_296":836,"_298":837,"_300":838},"https://img.ochreeditions.com/m/654.jpg?dl=1","/art/la-cervara-the-roman-campagna-cma-140078","/galleries/style/neoclassicism/la-cervara-the-roman-campagna-cma-140078",{"_292":293,"_294":295},{"_225":828,"_125":829,"_286":830},{"_277":825,"_279":826,"_281":809,"_282":827},150.8,112.37658823529412,97.37658823529412,{"_288":225,"_123":834,"_154":835,"_140":87},{"_288":125,"_123":831,"_154":832,"_140":833},{"_288":286,"_123":495,"_154":496,"_140":497},"style/painting-19","More paintings of the 19th century",432,"artist/jean-baptiste-camille-corot","More by Jean Baptiste Camille Corot","https://img.ochreeditions.com/a/654/480.jpg","https://img.ochreeditions.com/a/654/960.jpg","https://img.ochreeditions.com/a/654/1920.jpg","Corot based his large oil painting on drawings and oil sketches made outdoors. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828.",{"_312":853,"_314":854},{"_312":851,"_314":852},{"_312":849,"_314":850},{"_312":847,"_314":848},{"_312":845,"_314":846},"#8f7f67",0.1168,"#a0b1b4",0.1281,"#474237",0.2385,"#685d4c",0.2459,"#6c8da6",0.2707,"Jean Baptiste Camille Corot","jean-baptiste-camille-corot","French, 1796–1875",1796,1875,"Paris","Corot trained with the landscape painters Achille-Etna Michallon and Jean-Victor Bertin, then spent 1825–28 in Italy, where his small oil sketches of Rome and the Campagna caught its clear light with great economy. He returned to Italy twice and travelled widely in France.","moonlight-nga-214332","Moonlight",{"_42":908,"_222":909,"_326":910,"_328":329,"_330":911,"_332":912,"_334":-5,"_335":-5,"_336":-5,"_140":103},"1772","overall: 114.94 × 163.2 cm (45 1/4 × 64 1/4 in.)",163.2,114.9,1.4382022471910112,[893,894,895,896,897],{"_221":302,"_222":303,"_42":304,"_305":306},"2018.13.1","Claude-Joseph Vernet painted this in 1772, aged 58. It is now at the National Gallery of Art in Washington, DC.","Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.",{"_296":890,"_298":891,"_300":892},"https://img.ochreeditions.com/m/1696.jpg?dl=1","/art/moonlight-nga-214332","/galleries/style/neoclassicism/moonlight-nga-214332",{"_292":293,"_294":295},{"_225":885,"_125":886,"_286":887},{"_277":882,"_279":883,"_281":867,"_282":884},178.2,128.475,113.475,{"_288":225,"_123":888,"_154":889,"_140":89},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-claude-joseph-vernet","Claude-Joseph Vernet's contemporaries","https://img.ochreeditions.com/a/1696/480.jpg","https://img.ochreeditions.com/a/1696/960.jpg","https://img.ochreeditions.com/a/1696/1920.jpg",{"_312":906,"_314":907},{"_312":904,"_314":905},{"_312":902,"_314":903},{"_312":900,"_314":901},{"_312":898,"_314":899},"#8b8164",0.0742,"#616153",0.1563,"#4a4237",0.2045,"#2e241d",0.2337,"#2c2f2e",0.3313,"Claude-Joseph Vernet","claude-joseph-vernet","French, 1714–1789",1714,1789,"the-death-of-socrates-met-436105","The Death of Socrates",{"_42":961,"_222":962,"_326":963,"_328":329,"_330":964,"_332":965,"_334":860,"_335":966,"_336":967,"_140":97},"1787","Paintings","51 x 77 1/4 in. (129.5 x 196.2 cm)",196.2,129.5,1.5020653398422832,[946,947,948,949,950],{"_221":620,"_222":621,"_42":622,"_305":623},"31.45","Jacques-Louis David painted this in 1787, aged 39. It is now at The Met in New York.","Condemned by Athens for impiety and corrupting the young, the philosopher Socrates reaches for the cup of hemlock while continuing to teach, one finger raised as he speaks of the immortality of the soul.","The Death of Socrates, by Jacques-Louis David, 1787",{"_296":943,"_298":944,"_300":945},"https://img.ochreeditions.com/m/1083.jpg?dl=1","/art/the-death-of-socrates-met-436105","/galleries/style/neoclassicism/the-death-of-socrates-met-436105",{"_292":293,"_294":295},{"_225":938,"_125":939,"_286":940},{"_277":935,"_279":936,"_281":919,"_282":937},211.2,145.62015,130.62015,{"_288":225,"_123":941,"_154":942,"_140":97},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/jacques-louis-david","More by Jacques-Louis David","https://img.ochreeditions.com/a/1083/480.jpg","https://img.ochreeditions.com/a/1083/960.jpg","https://img.ochreeditions.com/a/1083/1920.jpg",{"_312":959,"_314":960},{"_312":957,"_314":958},{"_312":955,"_314":956},{"_312":953,"_314":954},{"_312":951,"_314":952},"#765f3f",0.0532,"#562d1a",0.0811,"#4a3b28",0.1395,"#2b231a",0.3188,"#1b1711",0.4074,"Jacques-Louis David","jacques-louis-david","French, 1748–1825",1748,1825,"Brussels","David was the leading painter of French Neoclassicism. After winning the Prix de Rome he studied antiquity in Italy, and in the 1780s produced severe, moralising history paintings such as The Oath of the Horatii and The Death of Socrates.","trophy-with-ecclesiastical-objects-si-chndm-1901-39-1317","Trophy with Ecclesiastical Objects",{"_42":1025,"_222":1026,"_326":1027,"_328":1028,"_330":1029,"_332":1030,"_334":-5,"_335":-5,"_336":-5,"_140":103},"1830–1850","italy","Black crayon, pen and dark ink, brush and gray water color on paper","H x W: 26.6 × 22.7 cm (10 1/2 × 8 15/16 in.)",22.7,26.6,0.8321596244131455,[1010,1011,1012,1013,1014],{"_221":1007,"_222":1008,"_42":1009,"_305":623},"Courtesy of Cooper Hewitt, Smithsonian Design Museum","1901-39-1317","Romolo Achille Liverani drew this in 1830–1850, aged about 21. It is now at Cooper Hewitt, Smithsonian Design Museum in New York.",{"_118":1005,"_380":1006},"TROPHY WITH ECCLESIASTICAL OBJECTS",{"_296":1002,"_298":1003,"_300":1004},"https://img.ochreeditions.com/m/1703.jpg?dl=1","/art/trophy-with-ecclesiastical-objects-si-chndm-1901-39-1317","/galleries/style/neoclassicism/trophy-with-ecclesiastical-objects-si-chndm-1901-39-1317",{"_292":374,"_294":375},{"_225":995,"_125":996,"_286":997},{"_277":992,"_279":993,"_281":994,"_282":976},46.13544600938967,50.6,22.13544600938967,{"_288":225,"_123":1000,"_154":1001,"_140":89},{"_288":125,"_123":439,"_154":440,"_140":441},{"_288":286,"_123":998,"_154":999,"_140":79},"era/19-italy","19th-century Italy","artist/contemporaries-of-romolo-achille-liverani","Romolo Achille Liverani's contemporaries","https://img.ochreeditions.com/a/1703/480.jpg","https://img.ochreeditions.com/a/1703/960.jpg","https://img.ochreeditions.com/a/1703/1920.jpg","An assembly of a mitre, a prelate’s hat, a crozier, an archbishop’s cross, altar objects, and processional pennon.","Text from Cooper Hewitt, Smithsonian Design Museum.","si","smithsonian","Smithsonian Institution",{"_312":1023,"_314":1024},{"_312":1021,"_314":1022},{"_312":1019,"_314":1020},{"_312":1017,"_314":1018},{"_312":1015,"_314":1016},"#a39c93",0.0784,"#f8ebd7",0.0834,"#c1b6aa",0.1232,"#dbcab8",0.1878,"#ecdbc9",0.5272,"Romolo Achille Liverani","romolo-achille-liverani","Italian, 1809–1872","Italian",1809,1872,"head-of-a-guillotined-man-aic-119264","Head of a Guillotined Man",{"_42":1080,"_222":1081,"_326":1082,"_328":329,"_330":1083,"_332":1084,"_334":1085,"_335":860,"_336":1086,"_140":99},"1818–19","Oil on panel","41 × 38 cm (16 1/8 × 14 15/16 in.); Framed: 53.3 × 50.8 × 7.6 cm (21 × 20 × 3 in.)",38,0.9247231367853936,[1065,1066,1067,1068,1069],{"_221":724,"_222":725,"_42":726,"_305":727},"1992.628","Jean Louis André Théodore Géricault painted this in 1818–19, aged 27. It is now at the Art Institute of Chicago.",{"_118":1063,"_380":1064},"A work made of oil on panel.",{"_296":1060,"_298":1061,"_300":1062},"https://img.ochreeditions.com/m/298.jpg?dl=1","/art/head-of-a-guillotined-man-aic-119264","/galleries/style/neoclassicism/head-of-a-guillotined-man-aic-119264",{"_292":293,"_294":295},{"_225":1055,"_125":1056,"_286":1057},{"_277":1052,"_279":1053,"_281":1054,"_282":697},52.913648608201136,56,37.913648608201136,{"_288":225,"_123":1058,"_154":1059,"_140":99},{"_288":125,"_123":831,"_154":832,"_140":833},{"_288":286,"_123":495,"_154":496,"_140":497},"artist/jean-louis-andre-theodore-gericault","More by Jean Louis André Théodore Géricault","https://img.ochreeditions.com/a/298/480.jpg","https://img.ochreeditions.com/a/298/960.jpg","https://img.ochreeditions.com/a/298/1920.jpg","This painting is one of several that Géricault produced of decapitated heads and severed limbs, and he likely painted it directly from life. The artist is known to have acquired corpses from his local morgue to study anatomy and the effects of decomposition. The head probably belonged to a convicted criminal.","Text from the Art Institute of Chicago.",{"_312":1078,"_314":1079},{"_312":1076,"_314":1077},{"_312":1074,"_314":1075},{"_312":1072,"_314":1073},{"_312":1070,"_314":1071},"#9f8864",0.04,"#685131",0.1065,"#43311a",0.1769,"#28180d",0.1835,"#120c08",0.4931,"Jean Louis André Théodore Géricault","jean-louis-andre-theodore-gericault","French, 1791–1824",1791,1824,"Rouen","Géricault trained with Carle Vernet and Pierre-Narcisse Guérin and studied the old masters in the Louvre, but his passion for horses and modern events shaped his art.","madame-bergeret-nga-32681","Madame Bergeret",{"_42":1134,"_222":1135,"_326":1136,"_328":329,"_330":204,"_332":1137,"_334":860,"_335":860,"_336":1138,"_140":93},"possibly 1766","overall: 143.5 x 105.4 cm (56 1/2 x 41 1/2 in.) framed: 172.4 x 134.3 cm (67 7/8 x 52 7/8 in.)",105.4,143.5,0.732177734375,[1119,1120,1121,1122,1123],{"_221":302,"_222":303,"_42":304,"_305":306},"1946.7.3","François Boucher painted this (possibly 1766), aged 63. It is now at the National Gallery of Art in Washington, DC.","Madame Bergeret stands in a garden in a gown of shimmering silver-white silk with blue bows, a straw hat trimmed with blue ribbon in one hand and a pink rose in the other, resting on an urn of flowers. Roses lie scattered on a bench and on the ground beside her.","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.",{"_296":1116,"_298":1117,"_300":1118},"https://img.ochreeditions.com/m/1477.jpg?dl=1","/art/madame-bergeret-nga-32681","/galleries/style/neoclassicism/madame-bergeret-nga-32681",{"_292":293,"_294":295},{"_225":1111,"_125":1112,"_286":1113},{"_277":1108,"_279":1109,"_281":1110,"_282":1093},120.0675048828125,158.5,105.0675048828125,{"_288":225,"_123":1114,"_154":1115,"_140":93},{"_288":125,"_123":289,"_154":290,"_140":291},{"_288":286,"_123":167,"_154":166,"_140":169},"artist/francois-boucher","More by François Boucher","https://img.ochreeditions.com/a/1477/480.jpg","https://img.ochreeditions.com/a/1477/960.jpg","https://img.ochreeditions.com/a/1477/1920.jpg",{"_312":1132,"_314":1133},{"_312":1130,"_314":1131},{"_312":1128,"_314":1129},{"_312":1126,"_314":1127},{"_312":1124,"_314":1125},"#aaa593",0.0844,"#7b735f",0.1556,"#6c5e3b",0.1812,"#414130",0.2806,"#29281d",0.2982,"François Boucher","francois-boucher","French, 1703–1770",1770,"Boucher trained with François Lemoyne, won the Prix de Rome and spent several years in Italy before rising to become First Painter to Louis XV. Madame de Pompadour was his most important patron.","ettore-side-view-from-oeuvre-de-canova-aic-260560","Ettore, Side View, from Oeuvre de Canova",{"_42":1186,"_222":1187,"_326":1188,"_328":1028,"_330":1189,"_332":1190,"_334":-5,"_335":-5,"_336":-5,"_140":99},"1817","Engraving and etching in black on ivory wove paper","Plate: 64 × 40.5 cm (25 1/4 × 16 in.); Sheet: 86 × 62 cm (33 7/8 × 24 7/16 in.)",40,64,0.7256637168141593,[1171,1172,1173,1174,1175],{"_221":724,"_222":725,"_42":726,"_305":727},"2021.47","Antonio Canova made this in 1817, aged 52. It is now at the Art Institute of Chicago.","A work made of engraving and etching in black on ivory wove paper.",{"_296":1168,"_298":1169,"_300":1170},"https://img.ochreeditions.com/m/402.jpg?dl=1","/art/ettore-side-view-from-oeuvre-de-canova-aic-260560","/galleries/style/neoclassicism/ettore-side-view-from-oeuvre-de-canova-aic-260560",{"_292":374,"_294":375},{"_225":1163,"_125":1164,"_286":1165},{"_277":1160,"_279":1161,"_281":1162,"_282":1146},70.4424778761062,88,46.442477876106196,{"_288":225,"_123":1166,"_154":1167,"_140":99},{"_288":125,"_123":612,"_154":613,"_140":614},{"_288":286,"_123":998,"_154":999,"_140":79},"artist/antonio-canova","More by Antonio Canova","https://img.ochreeditions.com/a/402/480.jpg","https://img.ochreeditions.com/a/402/960.jpg","https://img.ochreeditions.com/a/402/1920.jpg",{"_312":1184,"_314":1185},{"_312":1182,"_314":1183},{"_312":1180,"_314":1181},{"_312":1178,"_314":1179},{"_312":1176,"_314":1177},"#8e867f",0.0177,"#b2aba5",0.0506,"#cec5bf",0.0917,"#f1e2da",0.1243,"#f4e8e2",0.7157,"Antonio Canova","antonio-canova","Italian, 1765–1820",1765,1820,{"_1192":-5,"_1193":1194,"_1195":1196,"_1197":8,"_1198":1199,"_1200":8},"user","csrf","e59e387033d54cdbf6cf348ca5bd2a32ab8521b5","cartCount",0,"dropLive","legal",[1201,1202,1203,1204,1205,1206,1207,1208,1209,1210,1211,1212],"uploadsEnabled",{"_222":1235,"_20":1236},{"_222":1233,"_20":1234},{"_222":1231,"_20":1232},{"_222":1229,"_20":1230},{"_222":1227,"_20":1228},{"_222":1225,"_20":1226},{"_222":1223,"_20":1224},{"_222":1221,"_20":1222},{"_222":1219,"_20":1220},{"_222":1217,"_20":1218},{"_222":1215,"_20":1216},{"_222":1213,"_20":1214},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]