On View

La Simplicité (Simplicity)
La Simplicité (Simplicity)

La Simplicité (Simplicity)

Jean-Baptiste Greuze
French (1725–1805)
18th century
1759
Oil on canvas
28 x 23 1/2 in. (71.1 x 59.7 cm) Framed: 35 1/8 x 30 1/2 x 3 in. (89.2 x 77.5 x 7.6 cm)
AP 1985.03
Jean-Baptiste Greuze achieved fame for his morally uplifting narrative paintings, but he was equally adept working in the pastoral, erotic mode brought to refinement by François Boucher.
Portrait of a Woman, Possibly Elizabeth Warren
Portrait of a Woman, Possibly Elizabeth Warren

Portrait of a Woman, Possibly Elizabeth Warren

Joshua Reynolds
British (English) (1723–1792)
18th century
1759
Oil on canvas
93 3/4 x 58 3/16 in. (238.1 x 147.8 cm) Framed: 105 1/2 x 69 3/4 x 5 1/4 in. (268 x 177.2 x 13.3 cm)
ACF 1961.02
Having established a portrait practice in London, in 1749 Joshua Reynolds embarked on a journey to Italy, where during a two-year stay in Rome he studied the artistic canon of the antique, Michelangelo, Raphael, and the great Venetian masters.
Still Life with Oranges, Jars, and Boxes of Sweets
Still Life with Oranges, Jars, and Boxes of Sweets

Still Life with Oranges, Jars, and Boxes of Sweets

Luis Meléndez
Spanish (1716–1780)
18th century
c. 1760–65
Oil on canvas
19 x 13 7/8 in. (48.3 x 35.2 cm) Framed: 24 1/2 x 20 x 2 in. (62.2 x 50.8 x 5.1 cm)
AP 1985.13
Luis Meléndez was the greatest Spanish still-life painter of his time. As the most gifted student admitted to the newly founded Royal Academy of Fine Arts in Madrid in 1745, he could have anticipated a prosperous career at the Spanish court.
The Pond
The Pond

The Pond

Jean-Honoré Fragonard
French (1732–1806)
18th century
c. 1761–65
Oil on canvas
25 3/4 x 28 3/4 in. (65.4 x 73.1 cm) Framed: 33 1/4 x 36 1/2 x 3 1/2 in. (84.5 x 92.7 x 8.9 cm)
AP 1968.03
Fragonard was the last and perhaps the greatest of the French Rococo painters. A pupil of François Boucher, from whom he developed his fluent handling of paint, he produced some of the most masterful and hedonistic decorations of the eighteenth century.
Lord Grosvenor's Arabian Stallion with a Groom
Lord Grosvenor's Arabian Stallion with a Groom

Lord Grosvenor's Arabian Stallion with a Groom

George Stubbs
British (English) (1724–1806)
18th century
c. 1765
Oil on canvas
39 1/8 x 32 7/8 in. (99.3 x 83.5 cm) Framed: 44 x 37 1/2 x 2 5/8 in. (111.8 x 95.3 x 6.7 cm)
AP 1981.03
George Stubbs was the greatest painter of animals of his day. He was celebrated especially for his representation of horses, the forms and nature of which he captured with a remarkable understanding and sensitivity.
The River Rhine Separating the Waters
The River Rhine Separating the Waters

The River Rhine Separating the Waters

Clodion (Claude Michel)
French (1738–1814)
18th century
1765
Terracotta
11 x 18 x 12 in. (27.9 x 45.7 x 30.5 cm)
AP 1984.05
One of the outstanding sculptors of his age, Claude Michel, better known as Clodion, is today most admired for his small-scale terracottas.
Tivoli: The Temple of the Sybil and the Campagna
Tivoli: The Temple of the Sybil and the Campagna

Tivoli: The Temple of the Sybil and the Campagna

Richard Wilson
British (Welsh) (1714–1782)
18th century
c. 1765
Oil on canvas
29 x 38 1/2 in. (73.6 x 97.8 cm) Framed: 36 1/2 x 46 x 3 3/4 in. (92.7 x 116.8 x 9.5 cm)
APx 1979.29
Tivoli, in the Sabine hills to the east of Rome, was from the seventeenth century a favorite destination for artists. The grandeur of its landscape, with its evocations of ancient glory, also made it a major destination for foreign visitors on the Grand Tour.
Boreas Abducting Oreithyia
Boreas Abducting Oreithyia

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
Juno Asking Aeolus to Release the Winds

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.
Mercury Confiding the Infant Bacchus to the Nymphs of Nysa
Mercury Confiding the Infant Bacchus to the Nymphs of Nysa

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.
Venus at Vulcan's Forge
Venus at Vulcan's Forge

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.
Two Gibbons Reaching for the Moon
Two Gibbons Reaching for the Moon

Two Gibbons Reaching for the Moon

Ito Jakuchu
Japanese (1713–1800)
Edo period (1615–1868)
c. 1770
Hanging scroll; ink on paper
45 1/4 x 19 1/16 in. (114.9 x 48.4 cm)
AP 2005.01
This charming painting depicts a mother gibbon dangling her baby by the arm as she hangs from a tendril suspended from a tree. The title of the painting is a reference to the Zen Buddhist concept that simple people and animals often mistake the reflection of the moon for the moon itself.
Standing Oba
Standing Oba

Standing Oba

Africa, Southern Nigeria, Benin City, Kingdom of Benin
late 18th century
Bronze (or brass)
22 5/8 x 7 1/8 x 7 3/4 in. (57.4 x 18.1 x 19.7 cm)
AP 1970.04
Benin City is the center of an ancient culture that has flourished for centuries in southern Nigeria. From the early seventeenth century there are accounts by Europeans of the extensive architectural use of cast metal (actually brass) relief panels and other objects.
The Fountain
The Fountain

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
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

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.
Landscape with a Solitary Traveler
Landscape with a Solitary Traveler

Landscape with a Solitary Traveler

Yosa Buson
Japanese (1716–1784)
Edo period (1615–1868)
c. 1780
Hanging scroll; ink and light colors on silk
39 15/16 x 14 5/16 in. (101.5 x 36.4 cm)
AP 1981.18
The nanga (southern painting) school, also called bunjinga (literati painting), was one of the two most dynamic schools of Japanese painting during the eighteenth and first half of the nineteenth century.

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