Movement · 1760–1830

Neoclassicism

Clear drawing, smooth finish and sober color, with reds and whites held in strict balance and little visible brushwork.

Across 14 works, the colors are mostly brown (47%), black (29%) and gray (14%). On average the canvases are mid-toned, muted and warm. Signature colors, used far more here than across the collection: bistre, very dark brown, warm black, charcoal and very dark reddish brown.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 219 bistre 10.9% of canvas
• MG 222 charcoal 9.8% of canvas
• MG 223 soot 7.4% of canvas
• MG 177 dark taupe 7.0% of canvas
• MG 220 warm black 4.5% of canvas
• MG 218 graphite 4.3% of canvas
• MG 176 taupe 3.6% of canvas
• MG 211 dark slate 3.3% of canvas
• MG 169 dark brown 2.7% of canvas
• MG 217 iron 2.5% of canvas
• MG 221 blue black 2.4% of canvas
• MG 175 stone 2.3% of canvas
• MG 185 dark golden umber 2.3% of canvas
• MG 173 putty 2.3% of canvas
• MG 186 dark umber 2.2% of canvas
• MG 168 dark amber brown 2.1% of canvas

Measurements

Lightness

0.41

Contrast

0.50

Vividness

0.029

Warmth

+0.76

Complexity

148 cells

Hue range

0.41

Focus

0.19

Artists

• Angelica Kauffman 1741–1807
• Jacques-Louis David 1748–1825
• Élisabeth Vigée Le Brun 1755–1842
• Jean-Auguste-Dominique Ingres 1780–1867

Works

• Sappho Inspired by Love, 1775
• Self Portrait in a Straw Hat, 1782
• Telemachus and the Nymphs of Calypso, 1782
• Marie Antoinette with a Rose, 1783
• The Sorrow of Telemachus, 1783
• The Oath of the Horatii, 1784
• Marie Antoinette and Her Children, 1787
• The Death of Socrates, 1787
• The Death of Marat, 1793
• The Coronation of Gabo Napoleon, 1807
• The Valpinçon Bather, 1808
• Grande Odalisque, 1814
• The Source, 1856
• The Turkish Bath, 1862