Top 100 · Neoclassical painting
The 100 painters who reinvented Antiquity
From David to Ingres, from Kauffmann to Camuccini: history, portrait, archeology and academic legacies across Europe.
Born in Rome in the mid-18th century, neoclassicism responded to the discoveries of Herculaneum and Pompeii, the theories of Winckelmann and the desire for a more readable art. Paris makes it a political language, London adapts it to modern portraiture and history, while Milan, Madrid, Vienna, Berlin, Saint Petersburg and the young United States develop their own accents.
History, portrait, grand decor and academic traditions.
Understand before classifying
Neoclassicism makes painting a language of decision
Around 1750, Europe was no longer content to admire Antiquity: it measured it, published it and transformed it into a model. The excavations of Pompeii and Herculaneum, the Roman stays and the writings of Johann Joachim Winckelmann promote simplicity, proportion and nobility of gesture.
In Paris, Jacques-Louis David gave this research political and moral power. In London, Benjamin West and Angelica Kauffmann renewed history painting. Rome becomes a crossroads where Mengs, Batoni, Hamilton and generations of residents meet. Milan, Madrid, the German states, Russia and the United States in turn adapt this grammar.
This Top 100 combines historical influence, pictorial mastery, role in academic transmission, importance of works and geographical diversity. It retains the fifty artists of the original ranking and adds the founders, rivals, women artists, national schools, precursors and heirs necessary to understand the movement in all its amplitude.
Look at the line
Drawing organizes the body, space and narrative
Continuous contours, legible gestures and constructed drapes give the figures a sculptural presence. The color does not disappear, but it serves as a composition designed to be understood with a single glance.
Read history
Antiquity speaks of the present
Horaces, Sabines, Brutus or Homer are never simple costumes. Their choices allow us to discuss duty, freedom, sacrifice, power and memory in a Europe crossed by revolutions.
Follow the passages
The movement extends well beyond David
Ingres refines the line, Gros electrifies it, the Nazarenes spiritualize it and the academies of the 19th century transmit it. The ranking includes these legacies as well as the artists who prepare or challenge the model.
The founding core
Top 10 - The masters who establish neoclassical grammar
Sovereign drawing, moral story and sculptural figures: ten entry points to immediately recognize the movement.
#1
Jacques-Louis David
The boss of ancient costume: at home, even a political idea poses with marble abs. Works like The Oath of the Horatii, The Death of Marat explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Jacques-Louis David collection
#2
Jean-Auguste-Dominique Ingres
He draws the line like others sign a contract: with authority, elegance and zero wrist shake. Works like La Grande Odalisque, The Turkish Bath explain why its name remains useful for understanding grande manner, Salon and history painting.
See the Jean-Auguste-Dominique Ingres collection
#3
Pierre Paul Prud'hon
He slips from grace to drama with the delicacy of a cloud that would have read Plutarch before breakfast. Works like Justice and Divine Vengeance Pursuing Crime, Psyche Abducted by the Zephyrs explain why her name remains useful for understanding grand manner, Salon and history painting.
See the Pierre-Paul Prud'hon collection
#4
Anne-Louis Girodet
Student of David, but with a strange dream option: Antiquity stands straight, then begins to write poetry. Works like Endymion's Sleep, Atala at the Tomb explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Anne-Louis Girodet collection
#5
François Gérard
Very serious imperial portraitist: Napoleon enters, the canvas immediately stands to attention. Works like Psyche and Love, Portrait of Madame Récamier explain why her name remains useful for understanding grande manner, Salon and history painting.
See the François Gérard collection
#6
Pierre-Narcisse Guérin
It serves hot ancient heroism, with clean composition, noble gaze and cape that knows where to fall. Works like The Return of Marcus Sextus, Phaedrus and Hippolytus explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Pierre-Narcisse Guérin collection
#7
Jean-Baptiste Regnault
Great taste, mythology and impeccable draping: Regnault places chaos in a Doric column. Works like The Three Graces, Liberty or Death explain why its name remains useful for understanding grande manner, Salon and history painting.
See the Jean-Baptiste Regnault collection
#8
Leon Cogniet
He extends the grand style as a teacher who corrects even the clouds for their lack of discipline. Works like Tintoretto Painting His Dead Daughter, Scene of the Massacre of the Innocents explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Léon Cogniet collection
#9
Hippolyte Flandrin
The Ingresque line in his home becomes almost a prayer: sober, pure, and there is no question of wrinkling the tunic. Works like Young Naked Man Sitting by the Sea, Portrait of Napoleon III explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Hippolyte Flandrin collection
#10
Paul Delaroche
He transformed the story into a readable, dramatic and cinema-ready scene even before the invention of popcorn. Works like The Execution of Lady Jane Grey, Edward's Children explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Paul Delaroche collectionThe Academy on the Move
Ranks 11 to 25 - The model transforms
Portrait, national history, archeology and grand decor expand the legacy of David and Ingres.
#11
Joshua Reynolds
Great British Style takes on its aristocratic accent here: dignified portrait, raised chin, impressed armchair. Works like The Age of Innocence, Sarah Siddons as the Tragic Muse explain why her name remains useful for understanding grande manner, Salon and history painting.
See the Joshua Reynolds collection
#12
Thomas Lawrence
He paints nobility as if each jacket had a diplomatic ambition and each look an invitation to the ball. Works like Portrait of Pinkie, Portrait of Sarah Siddons explain why her name remains useful for understanding grande manner, Salon and history painting.
See the Thomas Lawrence collection
#13
Francesco Hayez
He mixes history, feeling and classical composition: romanticism arrives, but in well-polished shoes. Works like The Kiss, Meditation explain why its name remains useful for understanding the great manner, the Salon and history painting.
See the Francesco Hayez collection
#14
William-Adolphe Bouguereau
The academic finish peach skin version: even Venus seems to have validated the light before publication. Works like The Birth of Venus, Nymphs and Satyr explain why its name remains useful for understanding the great manner, the Salon and history painting.
See the William-Adolphe Bouguereau collection
#15
Jean-Leon Gérôme
Archaeological precision, visual theater and impeccable decor: Gérôme would have the extras correct the sandals. Works like Pollice Verso, The Truth Coming Out of the Well explain why his name remains useful for understanding grande manner, the Salon and history painting.
See the Jean-Léon Gérôme collection
#16
Alexandre Cabanel
Satin mythology, perfect poses and conquered Salon: at Cabanel, the classic ideal clearly has a good beauty routine. Works like The Birth of Venus, Phèdre explain why its name remains useful for understanding grande manner, Salon and history painting.
See the Alexandre Cabanel collection
#17
Thomas Couture
He sets up the great historical scene like a moral banquet where no one has forgotten his regulatory drape. Works like The Romans of Decadence, Portrait of Alfred Bruyas explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Thomas Couture collection
#18
Ernest Meissonier
The detail is so precise that we imagine the mustache asking for a certificate of military authenticity. Works like Campagne de France, 1814 explain why its name remains useful for understanding the great manner, the Salon and history painting.
See the Ernest Meissonier collection
#19
Paul Baudry
Monumental decor and well-groomed allegory: Baudry makes the ceiling want to become a museum. Works like Fortune and the Young Child, Charlotte Corday explain why her name remains useful for understanding grande manner, Salon and history painting.
See the Paul Baudry collection
#20
Jules-Elie Delaunay
He keeps the noble composition, the measured gesture and this impression that even shadows studied at the Beaux-Arts. Works like The Plague in Rome, Diana explain why her name remains useful for understanding grande manner, Salon and history painting.
See the Jules-Élie Delaunay collection
#21
Leon Bonnat
Solid portrait, frontal gaze, academic authority: his models already seem ready for the bronze bust. Works like Job, Portrait of Victor Hugo explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Léon Bonnat collection
#22
Jules Joseph Lefebvre
Ideal beauty, clean drawing, controlled pose: Lefebvre does not paint a nude, he organizes a complexion ceremony. Works like La Vérité, Clémence Isaure explain why her name remains useful for understanding the great manner, the Salon and history painting.
See the Jules Joseph Lefebvre collection
#23
Jean Jacques Henner
Dark backgrounds, luminous skin tones: Henner lights his figures like a chic candle in a silent living room. Works like Fabiola, Alsace.
See the Jean-Jacques Henner collection
#24
Carolus-Duran
The worldly portrait gains in panache: the bourgeoisie breathes, the satin does its best hearing. Works like The Lady with the Glove, Portrait of Mademoiselle Croizette explain why her name remains useful for understanding the great manner, the Salon and history painting.
See the Carolus-Duran collection
#25
Jean Paul Laurens
Middle Ages, drama and large formats: Laurens tells the story with a gravity that doesn't joke with the stairs. Works like The Excommunication of Robert the Pious, The Death of Tiberius Gracchus explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Jean-Paul Laurens collectionLegacies of the 19th century
Ranks 26 to 50 - From academic workshop to national schools
Neoclassicism survives in teaching, history painting, scholarly realism and the great Victorian scenes.
#26
Édouard Detaille
Uniforms, battles and military precision: Detaille paints the army with a ruler, a magnifying glass and lots of buttons. Works like The Dream, Long Live the Emperor!
See the Édouard Detaille collection
#27
Charles Gleyre
The classical studio teacher: even when he has no work here, he monitors the classification of the back of the room. Works like Lost Illusions, Le Soir explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Charles Gleyre collection
#28
Gustave Boulanger
Reconstructed antiquity, mental marble and peplum chic atmosphere: Boulanger shows Rome without skip-the-line tickets. Works like The Pied Piper's Repetition, Phryne explain why his name remains useful for understanding grande manner, the Salon and history painting.
See the Gustave Boulanger collection
#29
Luc-Olivier Merson
Religious, decorative, symbolic: Merson keeps the grand manner, but adds a little haze of mystery to it. Works like The Rest During the Flight into Egypt, Saint Louis Between Justice and Charity explain why his name remains useful for understanding the grand manner, the Salon and history painting.
See the Luc-Olivier Merson collection
#30
Henri Gervex
He modernizes academicism without throwing grammar out the window: elegant, lively, but always well-mannered. Works like Rolla, A Painting Jury Session explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Henri Gervex collection
#31
Georges Clairin
Portraits, decorations and Belle Époque: Clairin gives fabrics a very enviable social career. Works like Portrait of Sarah Bernhardt, Entrance of the Ambassadors explain why her name remains useful for understanding grande manner, Salon and history painting.
See the Georges Clairin collection
#32
Emile Friant
Clear realism, controlled emotion: Friant shows that seriousness can have heart without dirtying the composition. Works like La Toussaint, Les Amoureux explain why its name remains useful for understanding grande manner, the Salon and history painting.
See the Émile Friant collection
#33
Jules Bastien-Lepage
Naturalist, yes, but trained to great seriousness: even his peasants seem to know the rules of the Salon. Works like Joan of Arc, Les Foins explain why her name remains useful for understanding the great manner, the Salon and history painting.
See the Jules Bastien-Lepage collection
#34
Jules Breton
The campaign takes a heroic posture: in Breton, a field can almost ask for a medal. Works like The Song of the Lark, The Reminder of the Gleaners explain why its name remains useful for understanding the great manner, the Salon and history painting.
See the Jules Breton collection
#35
Auguste Toulmouche
Feminine elegance and refined interior: Toulmouche paints chic as if he had a date with a mirror. Works like The Hesitant Bride, Vanity explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Auguste Toulmouche collection
#36
Fernand Cormon
Ancient, biblical, prehistoric: Cormon proves that the academy knew how to travel without losing its schoolbag. Works like Cain, The Stone Age explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Fernand Cormon collection
#37
Lawrence Alma-Tadema
Marble, sun and luxurious antiquity: Alma-Tadema transforms each Roman terrace into a palace brochure. Works like The Roses of Heliogabalus, A Silver Favorite explain why its name remains useful for understanding the great manner, the Salon and history painting.
See the Lawrence Alma-Tadema collection
#38
Frederic Leighton
Ancient grace, sumptuous color, impeccable pose: Leighton makes beauty stand like a very calm Olympic athlete. Works like Flaming June, Cimabue's Celebrated Madonna explain why her name remains useful for understanding grande manner, Salon and history painting.
See the Frederic Leighton collection
#39
Edward poynter
It unfolds ancient history with British seriousness: the drape advances straight, the composition never crosses out of passage. Works like Israel in Egypt, The Cave of the Storm Nymphs explain why its name remains useful for understanding grande manner, Salon and history painting.
See the Edward Poynter collection
#40
John william waterhouse
Myths, nymphs and legends: Waterhouse keeps the classic, then adds a mist that can pose very well. Works like The Lady of Shalott, Hylas and the Nymphs explain why its name remains useful for understanding grande manner, Salon and history painting.
See the John William Waterhouse collection
#41
William Powell Frith
Victorian narration and academic rigor: Frith fills the stage like a train station on a big news day. Works like The Railway Station, Derby Day explain why its name remains useful for understanding grande manner, Salon and history painting.
See the William Powell Frith collection
#42
John Everett Millais
Pre-Raphaelite turned academician: Millais knows how to paint a flower, a drowning and a respectable career. Works like Ophelia, Christ in the House of His Parents explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the John Everett Millais collection
#43
John Singer Sargent
The worldly portrait reaches high aerobatics: in three brushstrokes, the dress gains a diplomatic passport. Works like Madame X, Carnation, Lily, Lily, Rose explain why her name remains useful for understanding grande manner, Salon and history painting.
See the John Singer Sargent collection
#44
Thomas Eakins
Anatomy, observation, truth of the body: Eakins arrives with the seriousness of a surgeon and the eye of a painter. Works like The Gross Clinic, The Swimming Hole explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Thomas Eakins collection
#45
Franz Xaver Winterhalter
Kings, queens, dresses and velvet: Winterhalter transforms the European courts into a very well-lit official parade. Works like Portrait of Empress Eugenie, Elizabeth of Austria explain why her name remains useful for understanding the great manner, the Salon and history painting.
See the Franz Xaver Winterhalter collection
#46
Karl von Piloty
Great German drama, story in large format: Piloty paints as if every scene requires a fanfare. Works like Seni in front of Wallenstein's body, Nero explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Karl von Piloty collection
#47
Ilya Repin
Russian narrative power, realism and intensity: Repin gives faces enough life to require extra soul. Works like The Boats of the Volga, Ivan the Terrible and his son Ivan explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Ilya Repin collection
#48
Jan Matejko
National memory in XXL fresco: Matejko does not tell history, he brings it in with the drums. Works like The Battle of Grunwald, Stainczyk explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Jan Matejko collection
#49
Viktor Vasnetsov
Myth, legend and great style: Vasnetsov invites Russian tales to stand with great dignity on the canvas. Works like The Bogatyrs, Alionushka explain why his name remains useful for understanding the great manner, the Salon and history painting.
See the Viktor Vasnetsov collection
#50
Domenico Morelli
It renews history and religion with a solid academic foundation: tradition changes costume, not spine. Works like The Temptations of Saint Anthony, The Iconoclasts explain why his name remains useful for understanding grande manner, Salon and history painting.
See the Domenico Morelli collectionA European network
Ranks 51 to 75 - Rome, Paris, London and the new workshops
Founders, rivals, students and artists who have long been downplayed show that the movement is an international network, not a closed school.
#51
Anton raphael mengs
Mengs transforms the ancient ideal into a European program: clean drawing, polished skin tones and measured compositions announce the neoclassical doctrine from Rome to Madrid.
See the Anton Raphael Mengs collection
#52
Pompeo Batoni
In Rome, Batoni unites worldly portraiture and ancient references; his effigies of the Grand Tour give the modern traveler the dignity of a classic hero.
See the Pompeo Batoni collection
#53
Angelica Kauffmann
Founder of the Royal Academy, Kauffmann imposes an elegant history painting where ancient heroines, moral sensitivity and clear lines take center stage.
See the Angelica Kauffmann collection
#54
Benjamin West
West transposes great history painting to the modern world and opens in London a decisive path between ancient exemplum, military news and academic ambition.
See the Benjamin West collection
#55
Joseph-Marie Vien
Master of David, Vien gradually replaces the rococo whims with an archaeological antiquity, sober and readable, which prepares the French neoclassical revolution.
See the Joseph-Marie Vien collection
#56
Jean-Germain Drouais
Despite a dazzling career, Drouais gave Roman history a sculptural tension and dramatic austerity that made him one of David's most promising students.
See the Jean-Germain Drouais collection
#57
Gavin Hamilton
Painter, excavator and antique dealer, Hamilton forged monumental Homeric scenes in Rome that nourished the British neoclassical imagination.
See the Gavin Hamilton collection
#58
John singleton copley
Copley takes the precision of the colonial portrait to vast historical dramas, combining concrete observation, contemporary heroism and academic staging.
See the John Singleton Copley collection
#59
Francisco Bayeu
Bayeu disciplines the color and movement of Spanish decor in clear compositions, designed for royal palaces and academic teaching.
See the Francisco Bayeu collection
#60
Élisabeth Vigée Le Brun
Vigée Le Brun renews the court portrait with more natural poses, supple light and ancient allusions which accompany the new European sensibility.
See the Élisabeth Vigée Le Brun collection
#61
Marie-Guillemine Benoist
A student of David, Benoist mobilizes neoclassical sobriety to give his models a sovereign presence, notably in his famous Portrait of a Black Woman.
See the Marie-Guillemine Benoist collection
#62
Marie-Denise Villers
Villers installs his figures in a precise and silent light; its firm design and sensitive interiors reveal a singular voice around David's workshop.
See the Marie-Denise Villers collection
#63
Constance Mayer
Mayer associates the neoclassical construction with an emotional and allegorical vein, often developed through contact with Prud'hon, without losing the finesse of his own gaze.
See the Constance Mayer collection
#64
Adelaide Labille-Guiard
Labille-Guiard affirms the intellectual authority of women artists in ambitious portraits where the fabric, gesture and space of the workshop become arguments of recognition.
See the Adélaïde Labille-Guiard collection
#65
Marguerite Gérard
Gérard acutely observes interiors, sociability and education; his intimate scenes extend the 18th century while adopting a more modern clarity.
See the Marguerite Gérard collection
#66
François-André Vincent
David's rival before the Revolution, Vincent composed scholarly stories with measured dramaturgy and formed a generation of artists, including several recognized women.
See the François-André Vincent collection
#67
Guillaume Guillon-Lethière
Lethière combines ancient erudition, theatrical energy and political experience; its great Roman scenes are among the most powerful visions of imperial neoclassicism.
See the Guillaume Guillon-Lethière collection
#68
Jean Baptiste Wicar
A rigorous designer and connoisseur of Italy, Wicar links Davidian pedagogy to Renaissance models in very clear portraits and stories.
See the Jean-Baptiste Wicar collection
#69
Vincenzo Camuccini
Camuccini gave Napoleonic Rome its great painted manifestos: eloquent gestures, stable architecture and ancient stories ordered like a theater stage.
See the Vincenzo Camuccini collection
#70
Antoine-Jean Gros
Gros retains David's frame but electrifies it with color, smoke and movement; his Napoleonic campaigns opened directly to romanticism.
See the Antoine-Jean Gros collection
#71
Andrea Appiani
The first painter of the Napoleonic Kingdom of Italy, Appiani adapted ancient nobility to official portraits and decorative frescoes of very controlled elegance.
See the Andrea Appiani collection
#72
Robert Lefèvre
Lefèvre stares at the faces of the Consulate, the Empire and the Restoration with smooth precision, frank light and a keen sense of social authority.
See the Robert Lefèvre collection
#73
Johann Friedrich Overbeck
Overbeck responded to academic rationalism with a spiritual return to Raphael and the Quattrocento, while retaining the linear discipline inherited from neoclassicism.
See the Johann Friedrich Overbeck collection
#74
Peter von Cornelius
Cornelius rehabilitates the great wall cycle and monumental composition; his art unites neoclassical drawing, resurgent fresco and German national ambition.
See the Peter von Cornelius collection
#75
Merry-Joseph Blondel
Blondel displays a scholarly decorative painting at the Louvre, Fontainebleau and in the palaces, balanced between ancient ideals, clear narration and colorful flexibility.
See the Merry-Joseph Blondel collectionPrecursors and passages
Ranks 76 to 100 - The fruitful boundaries of the ranking
Late classicism, sensitivity, portrait and romanticism reveal what neoclassicism receives, orders then transmits.
#76
Louis Hersent
Hersent prefers an internalized history to great noise: sensitive portraits, literary subjects and mastered drawing make the link between Empire and romanticism.
See the Louis Hersent collection
#77
Jean Baptiste Greuze
Jean-Baptiste Greuze makes portraiture, the gallant scene or grand decor an art of elegance, light and presence.
See the Jean-Baptiste Greuze collection
#78
Jean Siméon Chardin
Jean Siméon Chardin makes portraiture, the gallant scene or grand decor an art of elegance, light and presence.
See the Jean Siméon Chardin collection
#79
Giovanni Paolo Panini
Giovanni Paolo Panini unites decorative virtuosity, luminous color and open space in one of the great European foyers of the 18th century.
See the Giovanni Paolo Panini collection
#80
Pierre Subleyras
Pierre Subleyras makes portraiture, the gallant scene or the grand decor an art of elegance, light and presence.
See the Pierre Subleyras collection
#81
Louis Jean François Lagrenée
Louis Jean François Lagrenée makes portraiture, the gallant scene or grand decor an art of elegance, light and presence.
See the Louis Jean François Lagrenée collection
#82
Thomas Gainsborough
Thomas Gainsborough renews portraiture and landscape through attention to character, nature and the freedom of the brush.
See the Thomas Gainsborough collection
#83
Francisco de Goya
Francisco de Goya illuminates the diversity of the 18th century through painting attentive to grace, decor and the transformation of sensibilities.
See the Francisco de Goya collection
#84
Louis Boilly
Louis Boilly makes portraiture, the gallant scene or grand decor an art of elegance, light and presence.
See the Louis Boilly collection
#85
Joseph karl stieler
Joseph Karl Stieler deploys illusionist frescoes, portraits and architecture with the spectacular energy of Central European rococo.
See the Joseph Karl Stieler collection
#86
William blake
William Blake renews portraiture and landscape through attention to character, nature and the freedom of the brush.
See the William Blake collection
#87
Hubert Robert
Ruins, gardens and imaginary architecture allow it to combine elegance, memory and the pleasure of walking.
See the Hubert Robert collection
#88
Anton Graff
His portraits favor the truth of the face and psychological concentration, already announcing neoclassical sobriety.
See the Anton Graff collection
#89
George Romney
His elegant portraits combine brush fluidity, natural poses and a particularly modern theatrical sensitivity.
See the George Romney collection
#90
John hoppner
His portraits of British society extend Reynolds' great tradition with a freer and more romantic touch.
See the John Hoppner collection
#91
George Stubbs
His anatomical study of the horse gives animal portraits monumental precision and a very British elegance.
See the George Stubbs collection
#92
Joseph Wright of Derby
Candles, experiences and forges become under his brush theaters of light devoted to modern curiosity.
See the Joseph Wright of Derby collection
#93
Richard Wilson
He transposes the classical Italian landscape into a broad vision which lastingly establishes the British school of landscape.
See the Richard Wilson collection
#94
Henry Raeburn
His portraits combine frank construction, direct light and psychology, with an economy of means that has become emblematic.
See the Henry Raeburn collection
#95
Anne Vallayer-Coster
His still lifes display flowers, objects and materials with a virtuosity that opens the doors of the Royal Academy to him very early on.
See the Anne Vallayer-Coster collection
#96
Marie-Gabrielle Capet
A student of Labille-Guiard, she makes portraiture and the workshop scene a space of precision, sociability and transmission.
See the Marie-Gabrielle Capet collection
#97
Fyodor Rokotov
His portraits surround the faces with a vaporous material that gives the Russian aristocracy a mysterious and inner presence.
See the Fyodor Rokotov collection
#98
Vladimir Borovikovsky
He combines sentimental grace, landscape and costume refinement in portraits from the end of the Russian 18th century.
See the Vladimir Borovikovsky collection
#99
Canaletto
Canaletto illuminates the diversity of the 18th century through painting attentive to grace, decor and the transformation of sensitivities.
See the Canaletto collection
#100
Giovanni Battista Tiepolo
Giovanni Battista Tiepolo illuminates the diversity of the 18th century through painting attentive to grace, decor and the transformation of sensibilities.
See the Giovanni Battista Tiepolo collectionSources and extensions
Compare the works and continue the visit
The dates, attributions and stylistic landmarks were compared with museum collections and art history notices.
Neoclassicism is not a cold art: it is an art of tension
Under the precision of the contours, irreversible decisions, loyalties, ambitions and ruptures play out. David gives the gesture a civic significance, Ingres transforms the line into sensuality, Kauffmann restores the line to ancient heroines their autonomy and Gros brings modern tumult into the classic order.
To choose a reproduction, start from the desired atmosphere: David brings moral architecture, Ingres a silent elegance, Bouguereau a luminous finish, Alma-Tadema an inhabited Antiquity and Kauffmann a narrative grace. The collections linked to each sheet allow you to compare formats, subjects and artist-by-artist palettes.
0 comments