European Collection

In Boreas Abducting Oreithyia, Boreas, failing to win the hand of the lovely Athenian princess Orethyia, reverts to his true nature of wildness and cold rage.
Boreas Abducting Oreithyia
Boreas Abducting Oreithyia
In Boreas Abducting Oreithyia, Boreas, failing to win the hand of the lovely Athenian princess Orethyia, reverts to his true nature of wildness and cold rage.

Boreas Abducting Oreithyia

François Boucher
French (1703–1770)
18th century
1769
Oil on canvas
107 5/8 x 80 11/16 in. (273.3 x 205 cm) Framed: 110 1/2 x 83 3/4 x 2 1/2 in. (280.7 x 212.7 x 6.4 cm)
AP 1972.10
Failing to win the hand of the lovely Athenian princess Orethyia, one of the daughters of King Erechtheus, by gentle means, Boreas, the cold wind god of the North, decided to revert to his true nature of wildness and cold rage.
Juno Asking Aeolus to Release the Winds, Boucher shows Juno visiting Aeolus, keeper of the winds, urging him to unleash their fury, thus provoking a violent storm that would destroy Aeneas’s fleet.
Juno Asking Aeolus to Release the Winds
Juno Asking Aeolus to Release the Winds
Juno Asking Aeolus to Release the Winds, Boucher shows Juno visiting Aeolus, keeper of the winds, urging him to unleash their fury, thus provoking a violent storm that would destroy Aeneas’s fleet.

Juno Asking Aeolus to Release the Winds

François Boucher
French (1703–1770)
18th century
1769
Oil on canvas
109 1/2 x 80 in. (278.2 x 203.2 cm) Framed: 112 x 83 x 3 in. (284.5 x 210.8 x 7.6 cm)
AP 1972.08
As told by the Roman author Virgil in the first book of The Aeneid, the goddess Juno, consumed by jealousy toward Venus, schemed to prevent the fleet of her rival’s son, Aeneas, from reaching shore and founding a Trojan colony in Italy.
In Mercury Confiding the Infant Bacchus to the Nymphs of Nysa, Boucher shows nymphs who marvel at the miraculous infant, whose intoxicating powers are displayed by putti bearing grapes and the leaf-entwined thyrsos with which he will lead his band of followers.
Mercury Confiding the Infant Bacchus to the Nymphs of Nysa
Mercury Confiding the Infant Bacchus to the Nymphs of Nysa
In Mercury Confiding the Infant Bacchus to the Nymphs of Nysa, Boucher shows nymphs who marvel at the miraculous infant, whose intoxicating powers are displayed by putti bearing grapes and the leaf-entwined thyrsos with which he will lead his band of followers.

Mercury Confiding the Infant Bacchus to the Nymphs of Nysa

François Boucher
French (1703–1770)
18th century
1769
Oil on canvas
107 5/16 x 79 3/8 in. (272.5 x 201.6 cm) Framed: 110 1/2 x 82 1/2 x 2 1/2 in. (280.7 x 209.6 x 6.4 cm)
AP 1972.07
At the center of this painting is the infant god Bacchus. Born of Jupiter’s illicit union with the princess Semele, Bacchus was transported by Mercury to Nysa for safekeeping from Juno’s jealous rage.
In Venus at Vulcan's Forge, Boucher shows Venus inducing Vulcan to forge arms for her mortal son Aeneas, champion of the Trojans against the Greeks.
Venus at Vulcan's Forge
Venus at Vulcan's Forge
In Venus at Vulcan's Forge, Boucher shows Venus inducing Vulcan to forge arms for her mortal son Aeneas, champion of the Trojans against the Greeks.

Venus at Vulcan's Forge

François Boucher
French (1703–1770)
18th century
1769
Oil on canvas
107 11/16 x 80 9/16 in. (273.5 x 204.7 cm) Framed: 110 3/4 x 83 3/4 x 2 1/2 in. (281.3 x 212.7 x 6.4 cm)
AP 1972.09
In this canvas, Boucher goes to the heart of Virgil’s narrative in the eighth book of The Aeneid, in which Venus induces Vulcan to forge arms for her mortal son Aeneas, champion of the Trojans against the Greeks.
The Fountain depicts a terrace of a verdant garden, where visitors refresh themselves in the fountain’s cool mists and explore the overgrown grotto, where the natural elements overwhelm human design.
The Fountain
The Fountain
The Fountain depicts a terrace of a verdant garden, where visitors refresh themselves in the fountain’s cool mists and explore the overgrown grotto, where the natural elements overwhelm human design.

The Fountain

Hubert Robert
French (1733–1808)
18th century
c. 1775–78
Oil on canvas
44 1/2 x 35 1/2 in. (113 x 90.2 cm) Framed: 54 x 44 1/2 x 4 1/2 in. (137.2 x 113 x 11.4 cm)
AP 1970.15
In 1754, Hubert Robert went to Rome in the entourage of his protector, the Comte de Stainville, French Ambassador to the Holy See. In Italy he visited the sites of classical antiquity and the captivating gardens around Rome, including the Villa d’Este in Tivoli.
Portrait of Aymard-Jean de Nicolay, Premier Président de la Chambre des Comptes is Houdon's acclaimed bust praised for its perfect resemblance an elegance and nobility of form.
Portrait of Aymard-Jean de Nicolay, Premier Président de la Chambre des Comptes
Portrait of Aymard-Jean de Nicolay, Premier Président de la Chambre des Comptes
Portrait of Aymard-Jean de Nicolay, Premier Président de la Chambre des Comptes is Houdon's acclaimed bust praised for its perfect resemblance an elegance and nobility of form.

Portrait of Aymard-Jean de Nicolay, Premier Président de la Chambre des Comptes

Jean-Antoine Houdon
French (1741–1828)
18th century
1779
Marble
35 7/16 x 29 1/8 in. (90 x 74 cm)
AP 1991.01
In his portraits of the men of letters and nobility of the Enlightenment, Houdon created an entirely new genre, in which he achieved spontaneity and informality of expression without compromising the decorous and elevated presentation of his sitters.
Portrait of Mrs. Andrew Reid is shows the sitter’s elegant and shapely form fashionably elongated as she leans upon a stone pedestal.
Portrait of Mrs. Andrew Reid
Portrait of Mrs. Andrew Reid
Portrait of Mrs. Andrew Reid is shows the sitter’s elegant and shapely form fashionably elongated as she leans upon a stone pedestal.

Portrait of Mrs. Andrew Reid

George Romney
British (English) (1734–1802)
18th century
c. l780–88
Oil on canvas
91 7/8 x 56 3/4 in. (233.4 x 144.2 cm) Framed: 105 x 69 x 4 5/8 in. (266.7 x 175.3 x 11.7 cm)
ACF 1957.03
Known for his refined and elegant manner, George Romney enjoyed the highest reputation among British portraitists after Reynolds and Gainsborough.
Venice from the Bacino di San Marco portrays a scene of Venice. Rising at left is the campanile, or bell tower, next to the open space known as the Piazzetta. At center is the imposing pink and white facade of the Doge’s Palace.
Venice from the Bacino di San Marco
Venice from the Bacino di San Marco
Venice from the Bacino di San Marco portrays a scene of Venice. Rising at left is the campanile, or bell tower, next to the open space known as the Piazzetta. At center is the imposing pink and white facade of the Doge’s Palace.

Venice from the Bacino di San Marco

Francesco Guardi
Italian (1712–1793)
18th century
c. 1780
Oil on canvas
24 3/8 x 37 1/2 in. (61.9 x 95.3 cm) Framed: 32 1/2 x 45 1/8 x 4 in. (82.6 x 114.6 x 10.2 cm)
AP 1970.19
Little is known about Francesco Guardi. Members of his family were active as painters of devotional works, and he initially worked with his older brother, Antonio, as a figure painter.
Self-Portrait depicts Elisabeth Louise Vigée Le Brun at the age of about twenty-six, several years after she painted the first of her many portraits of Queen Marie-Antoinette. She is dressed as a lady of society.
Self-Portrait
Self-Portrait
Self-Portrait depicts Elisabeth Louise Vigée Le Brun at the age of about twenty-six, several years after she painted the first of her many portraits of Queen Marie-Antoinette. She is dressed as a lady of society.

Self-Portrait

Elisabeth Louise Vigée Le Brun
French (1755–1842)
18th century
c. 1781
Oil on canvas
25 1/2 x 21 1/4 in. (64.8 x 54 cm) Framed: 34 x 29 x 5 in. (86.4 x 73.7 x 12.7 cm)
ACK 1949.02
This youthful self-portrait depicts Elisabeth Louise Vigée Le Brun at the age of about twenty-six, several years after she painted the first of her many portraits of Queen Marie-Antoinette.
Portrait of Janet Anderson is a portrait with Raeburn's “square” brushstrokes that are the hallmark of his technique, especially in the painting of the clothes.
Portrait of Janet Anderson
Portrait of Janet Anderson
Portrait of Janet Anderson is a portrait with Raeburn's “square” brushstrokes that are the hallmark of his technique, especially in the painting of the clothes.

Portrait of Janet Anderson

Henry Raeburn
British (Scottish) (1756–1823)
18th century
late 1780s
Oil on canvas
35 1/2 x 27 1/2 in. (90.2 x 69.8 cm) Framed: 45 1/2 x 38 x 3 3/4 in. (115.6 x 96.5 x 9.5 cm)
ACF 1954.06
Like The Allen Brothers, this portrait dates from early in Henry Raeburn’s career. A recent cleaning has brought out the broadly applied, “square” brushstrokes that are the hallmark of his technique, especially in the painting of the clothes.
Portrait of Miss Anna Ward with Her Dog is a portrait of the eight-year-old illegitimate daughter of Lord Dudley.
Portrait of Miss Anna Ward with Her Dog
Portrait of Miss Anna Ward with Her Dog
Portrait of Miss Anna Ward with Her Dog is a portrait of the eight-year-old illegitimate daughter of Lord Dudley.

Portrait of Miss Anna Ward with Her Dog

Joshua Reynolds
British (English) (1723–1792)
18th century
1787
Oil on canvas
55 3/4 x 44 3/4 in. (141.6 x 113.7 cm) Framed: 67 3/8 x 56 1/2 x 4 3/4 in. (171.1 x 143.5 x 12.1 cm)
ACF 1948.03
Painted in 1787, two years before Reynolds lost his sight, this portrait of Anna Ward represents the eight-year-old illegitimate daughter of John, second Viscount Dudley and Ward, and Mrs. Mary Baker, whom Lord Dudley later married.
The Allen Brothers (Portrait of James and John Lee Allen) is an experimental portrait by Raeburn in which the boys appear in an informal scenario, playing a game with a hat and a stick.
The Allen Brothers (Portrait of James and John Lee Allen)
The Allen Brothers (Portrait of James and John Lee Allen)
The Allen Brothers (Portrait of James and John Lee Allen) is an experimental portrait by Raeburn in which the boys appear in an informal scenario, playing a game with a hat and a stick.

The Allen Brothers (Portrait of James and John Lee Allen)

Henry Raeburn
British (Scottish) (1756–1823)
18th century
early 1790s
Oil on canvas
60 x 45 1/2 in. (152.4 x 115.6 cm) Framed: 68 x 54 1/2 x 4 in. (172.7 x 138.4 x 10.2 cm)
AP 2002.05
Henry Raeburn was the leading portraitist in Edinburgh, Scotland, a center of the intellectual and artistic movement known as the Enlightenment, from about 1790 until his death in 1823.
Portrait of the Matador Pedro Romero is Goya's portrait of the famous matador. The finery of Romero’s jacket, waistcoat, and shirt does not upstage his charismatic good looks.
Portrait of the Matador Pedro Romero
Portrait of the Matador Pedro Romero
Portrait of the Matador Pedro Romero is Goya's portrait of the famous matador. The finery of Romero’s jacket, waistcoat, and shirt does not upstage his charismatic good looks.

Portrait of the Matador Pedro Romero

Francisco de Goya
Spanish (1746–1828)
18th century
c. 1795–98
Oil on canvas
Unframed: 33 1/8 x 25 9/16 in. (84.1 x 65 cm) Framed: 41 1/2 × 34 1/4 × 2 1/2 in. (105.41 × 87 × 6.35 cm)
AP 1966.12
Francisco de Goya, the most important Spanish painter after Velázquez, was, like his predecessor, a master portraitist. This portrait depicts Pedro Romero (1754–1839), one of the greatest toreadors of all time, idolized for his courage and control as well as his handsome appearance.
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter) depicts a paymaster in the French administration, Monsieur Gaudry, instructing his daughter in geography.
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter)
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter)
The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter) depicts a paymaster in the French administration, Monsieur Gaudry, instructing his daughter in geography.

The Geography Lesson (Portrait of Monsieur Gaudry and His Daughter)

Louis-Léopold Boilly
French (1761–1845)
19th century
1812
Oil on canvas
29 x 23 1/4 in. (73.6 x 59 cm)
AP 1990.01
Arriving in Paris in 1785, Louis-Léopold Boilly was witness to the collapse of the French monarchy, the struggle for modern republicanism, and the rise and fall of Napoleon’s empire.
Ideal Head of a Woman is a bust with elegant profile, smooth skin, and elaborate chignon. This “ideal head” exemplifies Canova’s Neoclassicism and his stunning technical virtuosity.
Ideal Head of a Woman
Ideal Head of a Woman
Ideal Head of a Woman is a bust with elegant profile, smooth skin, and elaborate chignon. This “ideal head” exemplifies Canova’s Neoclassicism and his stunning technical virtuosity.

Ideal Head of a Woman

Antonio Canova
Italian (1757–1822)
19th century
c. 1817
Marble
22 3/16 x 9 7/16 x 9 3/4 in. (56.3 x 24 x 24.7 cm)
AP 1981.13
The Venetian artist Antonio Canova was the leading sculptor of the Neoclassical movement. Traveling to Rome in late 1779, his virtuosity and stylistic innovation soon won him papal commissions and acclaim.
Portrait Study of a Youth is one of Géricault's adolescent portraits. In this portrait, light in the flushed cheek, glossy hair, and gleaming eyes lend the work a liveliness and intimacy.
Portrait Study of a Youth
Portrait Study of a Youth
Portrait Study of a Youth is one of Géricault's adolescent portraits. In this portrait, light in the flushed cheek, glossy hair, and gleaming eyes lend the work a liveliness and intimacy.

Portrait Study of a Youth

Théodore Géricault
French (1791–1824)
19th century
c. 1818–20
Oil on canvas
18 1/2 x 15 in. (47 x 38.1 cm) Framed: 26 3/8 x 23 1/8 x 3 1/2 in. (67 x 58.7 x 8.9 cm)
AP 1969.07
In the Salon of 1819, Géricault showed his celebrated Raft of the Medusa.

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