PILGRIMAGE TO CYTHERA
These fete galante paintings depict the outdoor amusements of French upper-class society. The haze of color, subtly molded shapes, gliding motion, and air of suave gentility match Rococo taste.
Richard Boyle and William Kent
For his British villa, the simple symmetry and unadorned planes of the Palladian architectural style were emulated. This is a free variation on the Villa Rotunda.
Germain Boffrand with painting done by Charles-Joseph Natoire and sculpture by J.B. Lemoine
SALON DE LA PRINCESSE, Hotel de Soubise
Elegant Rococo rooms such as this salon, featuring sinuous curves, gilded moldings and mirrors, small sculptures and paintings, and floral ornament, were the center of Parisian social and intellectual life.
Naturalism is embraced and celebrated with simple goodness of ordinary people, especially mothers and children, who lived in a world far from the frivolous Rococo salons of Paris.
BREAKFAST SCENE, from MARRIAGE a la MODE
Fame was won for his paintings and prints satirizing 18th century English life with comic zest.This is one of a series of six paintings in which he chronicled the marital immoralities of the moneyed class.
Virginia, United States
A self-taught architect, he led the movement to adopt Neoclassicism as the architectural style of the United States. Although built of local materials, his Palladian Virginia home recalls Chiswick House.
DEATH OF GENERAL WOLFE
The great innovation here was to blend contemporary subject matter and costumes with the grand tradition of history painting (early neoclassicism).
OATH OF THE HORATII
The leading neoclassical painter-ideologist in France at the end of the 18th century and of the French Revolution. This huge canvas celebrating ancient Roman patriotism and sacrifice features statuesque figures and classical architecture.
Washington is portrayed in contemporary garb, but with incorporated Roman fasces and Cincinnatus's plow in the statue, because Washington had returned to his farm after his war service.
DEATH OF MARAT
Being aligned with the Jacobins as well as role of de facto minister of propaganda, the artist depicted the revolutionary Marat as tragic martyr, stabbed to death in his bath. Although the painting displays severe Neoclassical spareness, its convincing realism conveys pain and outrage.