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Title: Herm of a Vestal Virgin Artist/Maker: Antonio Canova (Italian, 1757 - 1822) Culture: Italian Place: Italy (Place created) Date: 1821 - 1822 Medium: Marble Dimensions: 49.8 × 31.9 × 24.1 cm (19 5/8 × 12 9/16 × 9 1/2 in.) Inscription: Inscribed on the front, "VESTALIS". Object Type: Sculpture Object Number: 85.SA.353 Vestal Virgins, consecrated to Vesta, Roman goddess of the hearth, served in temples as guardians of an eternal, sacred flame and were expected to emulate the goddess's purity and chastity. In his representation of one of these women, sculptor Antonio Canova suggested her innocence through the austerity and sparseness of the Neoclassical style, drawing on the contemporary idea that classical forms carry with them the expression of a strict morality. The bust is made of simple geometric shapes: a square for the bust and oval for the face. The tightly wound headcovering pulls in her hair and, with the cloak, draws attention to the purity of the shapes. Her firm shoulders and uninhibited, unmoving stare further suggest her resolve, innocence, and moral authority. Despite her physical beauty and the softness of the folds of the cloak, the statue does not invite touching. It is a cool, intellectual work of simple forms and restrained emotion. With the discovery of the so-called House of the Vestals in Pompeii, Vestal Virgins became a popular subject in the 1700s and 1800s. This figure wears a historically accurate cloak, which suggests that Canova researched the subject. Text from: www.getty.edu/art/collection/objects/1115/antonio-canova-herm-of-a-vestal-virgin-italian-1821-1822

Title: Portrait of the Marquesa de Santiago Artist/Maker: Francisco José de Goya y Lucientes (Francisco de Goya) (Spanish, 1746 - 1828) Culture: Spanish Date: 1804 Medium: Oil on canvas Dimensions: 209.6 × 126.4 cm (82 1/2 × 49 3/4 in.) Signed: Signed and dated, lower right: "La Marquesa de / S.n Tiago Goya 1804" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 83.PA.12 The Marquesa de Santiago stands full-length in front of a landscape of gently sloping hills. Well-born, very wealthy, and a commanding presence, she confronts the viewer directly. Her white lace mantilla extends to her knees, and she holds a closed fan in her left hand. Heavily applied make-up accentuates her features. Known for her dissolute lifestyle, the Marquesa died at the age of forty-three, three years after this portrait was made. An English visitor to Spain once described her as "very profligate and loose in her manners and conversations, and scarcely admitted into female society and said to boast of her nocturnal revels." While contemporary portraitists sought to convey ideal beauty with a highly finished technique, Goya used a more expressionistic handling of the paint. Broad, quick brushstrokes describe her dark dress, and the application of thick impasto suggests the gold braid on the Marquesa's sleeve and lace of her mantilla. In the background, crude cottages and trees are merely indicated with wide, rapid sweeps of the brush. Text from: www.getty.edu/art/collection/objects/706/francisco-jose-de-goya-y-lucientes-francisco-de-goya-portrait-of-the-marquesa-de-santiago-spanish-1804

Title: Portrait of the Marquesa de Santiago Artist/Maker: Francisco José de Goya y Lucientes (Francisco de Goya) (Spanish, 1746 - 1828) Culture: Spanish Date: 1804 Medium: Oil on canvas Dimensions: 209.6 × 126.4 cm (82 1/2 × 49 3/4 in.) Signed: Signed and dated, lower right: "La Marquesa de / S.n Tiago Goya 1804" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 83.PA.12 The Marquesa de Santiago stands full-length in front of a landscape of gently sloping hills. Well-born, very wealthy, and a commanding presence, she confronts the viewer directly. Her white lace mantilla extends to her knees, and she holds a closed fan in her left hand. Heavily applied make-up accentuates her features. Known for her dissolute lifestyle, the Marquesa died at the age of forty-three, three years after this portrait was made. An English visitor to Spain once described her as "very profligate and loose in her manners and conversations, and scarcely admitted into female society and said to boast of her nocturnal revels." While contemporary portraitists sought to convey ideal beauty with a highly finished technique, Goya used a more expressionistic handling of the paint. Broad, quick brushstrokes describe her dark dress, and the application of thick impasto suggests the gold braid on the Marquesa's sleeve and lace of her mantilla. In the background, crude cottages and trees are merely indicated with wide, rapid sweeps of the brush. Text from: www.getty.edu/art/collection/objects/706/francisco-jose-de-goya-y-lucientes-francisco-de-goya-portrait-of-the-marquesa-de-santiago-spanish-1804

Title: Portrait of the Marquesa de Santiago Artist/Maker: Francisco José de Goya y Lucientes (Francisco de Goya) (Spanish, 1746 - 1828) Culture: Spanish Date: 1804 Medium: Oil on canvas Dimensions: 209.6 × 126.4 cm (82 1/2 × 49 3/4 in.) Signed: Signed and dated, lower right: "La Marquesa de / S.n Tiago Goya 1804" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 83.PA.12 The Marquesa de Santiago stands full-length in front of a landscape of gently sloping hills. Well-born, very wealthy, and a commanding presence, she confronts the viewer directly. Her white lace mantilla extends to her knees, and she holds a closed fan in her left hand. Heavily applied make-up accentuates her features. Known for her dissolute lifestyle, the Marquesa died at the age of forty-three, three years after this portrait was made. An English visitor to Spain once described her as "very profligate and loose in her manners and conversations, and scarcely admitted into female society and said to boast of her nocturnal revels." While contemporary portraitists sought to convey ideal beauty with a highly finished technique, Goya used a more expressionistic handling of the paint. Broad, quick brushstrokes describe her dark dress, and the application of thick impasto suggests the gold braid on the Marquesa's sleeve and lace of her mantilla. In the background, crude cottages and trees are merely indicated with wide, rapid sweeps of the brush. Text from: www.getty.edu/art/collection/objects/706/francisco-jose-de-goya-y-lucientes-francisco-de-goya-portrait-of-the-marquesa-de-santiago-spanish-1804

Title: Portrait of the Sisters Zénaïde and Charlotte Bonaparte Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1821 Medium: Oil on canvas Dimensions: 129.5 × 100.6 cm (51 × 39 5/8 in.) Signed: Signed and dated, lower right: "L. DAVID. / BRVX. 1821." Inscription: On partially legible letter: "N.o. 13. / Philadelphie [...] / mes cheres petites amies [...] Julie [...]". Department: Paintings Classification: Paintings Object Type: Painting Object Number: 86.PA.740 The sisters Zénaïde and Charlotte Bonaparte, Napoleon's nieces, embrace as they read a letter from their father, Joseph Bonaparte, who was exiled in the United States while they lived in Brussels, Belgium, after Napoleon's fall from power. The folds of the carefully creased paper are realistically rendered, and the viewer can even decipher a Philadelphia address on the letter. Jacques-Louis David juxtaposed the sisters' different personalities through their contrasting expressions and attire. The elder Zénaïde appears worldly and elegant in a low-cut black velvet dress. Sitting upright, she looks frankly out at the viewer as she protects her younger sister, Charlotte. Charlotte appears timid and reticent as she shyly raises her eyes, and her dress, a modest gray-blue silk, suits her demeanor. The exiled princesses both wear tiaras and sit on a red velvet couch embroidered with golden bees, the Bonaparte family emblem. Text from: www.getty.edu/art/collection/objects/802/jacques-louis-david-portrait-of-the-sisters-zenaide-and-charlotte-bonaparte-french-1821

Title: Portrait of the Sisters Zénaïde and Charlotte Bonaparte Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1821 Medium: Oil on canvas Dimensions: 129.5 × 100.6 cm (51 × 39 5/8 in.) Signed: Signed and dated, lower right: "L. DAVID. / BRVX. 1821." Inscription: On partially legible letter: "N.o. 13. / Philadelphie [...] / mes cheres petites amies [...] Julie [...]". Department: Paintings Classification: Paintings Object Type: Painting Object Number: 86.PA.740 The sisters Zénaïde and Charlotte Bonaparte, Napoleon's nieces, embrace as they read a letter from their father, Joseph Bonaparte, who was exiled in the United States while they lived in Brussels, Belgium, after Napoleon's fall from power. The folds of the carefully creased paper are realistically rendered, and the viewer can even decipher a Philadelphia address on the letter. Jacques-Louis David juxtaposed the sisters' different personalities through their contrasting expressions and attire. The elder Zénaïde appears worldly and elegant in a low-cut black velvet dress. Sitting upright, she looks frankly out at the viewer as she protects her younger sister, Charlotte. Charlotte appears timid and reticent as she shyly raises her eyes, and her dress, a modest gray-blue silk, suits her demeanor. The exiled princesses both wear tiaras and sit on a red velvet couch embroidered with golden bees, the Bonaparte family emblem. Text from: www.getty.edu/art/collection/objects/802/jacques-louis-david-portrait-of-the-sisters-zenaide-and-charlotte-bonaparte-french-1821

Title: Portrait of the Sisters Zénaïde and Charlotte Bonaparte Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1821 Medium: Oil on canvas Dimensions: 129.5 × 100.6 cm (51 × 39 5/8 in.) Signed: Signed and dated, lower right: "L. DAVID. / BRVX. 1821." Inscription: On partially legible letter: "N.o. 13. / Philadelphie [...] / mes cheres petites amies [...] Julie [...]". Department: Paintings Classification: Paintings Object Type: Painting Object Number: 86.PA.740 The sisters Zénaïde and Charlotte Bonaparte, Napoleon's nieces, embrace as they read a letter from their father, Joseph Bonaparte, who was exiled in the United States while they lived in Brussels, Belgium, after Napoleon's fall from power. The folds of the carefully creased paper are realistically rendered, and the viewer can even decipher a Philadelphia address on the letter. Jacques-Louis David juxtaposed the sisters' different personalities through their contrasting expressions and attire. The elder Zénaïde appears worldly and elegant in a low-cut black velvet dress. Sitting upright, she looks frankly out at the viewer as she protects her younger sister, Charlotte. Charlotte appears timid and reticent as she shyly raises her eyes, and her dress, a modest gray-blue silk, suits her demeanor. The exiled princesses both wear tiaras and sit on a red velvet couch embroidered with golden bees, the Bonaparte family emblem. Text from: www.getty.edu/art/collection/objects/802/jacques-louis-david-portrait-of-the-sisters-zenaide-and-charlotte-bonaparte-french-1821

Title: The Farewell of Telemachus and Eucharis Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1818 Medium: Oil on canvas Dimensions: 88.3 × 103.2 cm (34 3/4 × 40 5/8 in.) Signed: Signed on quiver: "L.DAVID"; dated on horn: "1818 / BRVX" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 87.PA.27  Fixing the viewer with a dreamy gaze, the fair-haired Telemachus grasps Eucharis's thigh with his right hand while holding his sword upright with the other. In the 1699 French novel Les Aventures de Télémaque, loosely based on characters from the Odyssey, the author Fénelon describes how Telemachus, the son of Odysseus, fell passionately in love with the beautiful nymph Eucharis. His duty as a son, however, required that he end their romance and depart in search of his missing father. The ill-fated lovers say farewell in a grotto on Calypso's island. Facing towards us, Telemachus's blue tunic falls open to reveal his naked torso. Eucharis, seen in profile, encircles Telemachus's neck and gently rests her head upon his shoulder in resignation. In this way, Jacques-Louis David contrasts masculine rectitude with female emotion. David painted The Farewell of Telemachus and Eucharis during his exile in Brussels. The use of saturated reds and blues contrasted with flesh tones and combined with a clarity of line and form typifies the Neoclassical style, which is characteristic of David's late history paintings. Text from: www.getty.edu/art/collection/objects/806/jacques-louis-david-the-farewell-of-telemachus-and-eucharis-french-1818

Title: The Farewell of Telemachus and Eucharis Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1818 Medium: Oil on canvas Dimensions: 88.3 × 103.2 cm (34 3/4 × 40 5/8 in.) Signed: Signed on quiver: "L.DAVID"; dated on horn: "1818 / BRVX" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 87.PA.27  Fixing the viewer with a dreamy gaze, the fair-haired Telemachus grasps Eucharis's thigh with his right hand while holding his sword upright with the other. In the 1699 French novel Les Aventures de Télémaque, loosely based on characters from the Odyssey, the author Fénelon describes how Telemachus, the son of Odysseus, fell passionately in love with the beautiful nymph Eucharis. His duty as a son, however, required that he end their romance and depart in search of his missing father. The ill-fated lovers say farewell in a grotto on Calypso's island. Facing towards us, Telemachus's blue tunic falls open to reveal his naked torso. Eucharis, seen in profile, encircles Telemachus's neck and gently rests her head upon his shoulder in resignation. In this way, Jacques-Louis David contrasts masculine rectitude with female emotion. David painted The Farewell of Telemachus and Eucharis during his exile in Brussels. The use of saturated reds and blues contrasted with flesh tones and combined with a clarity of line and form typifies the Neoclassical style, which is characteristic of David's late history paintings. Text from: www.getty.edu/art/collection/objects/806/jacques-louis-david-the-farewell-of-telemachus-and-eucharis-french-1818

Title: The Farewell of Telemachus and Eucharis Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1818 Medium: Oil on canvas Dimensions: 88.3 × 103.2 cm (34 3/4 × 40 5/8 in.) Signed: Signed on quiver: "L.DAVID"; dated on horn: "1818 / BRVX" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 87.PA.27  Fixing the viewer with a dreamy gaze, the fair-haired Telemachus grasps Eucharis's thigh with his right hand while holding his sword upright with the other. In the 1699 French novel Les Aventures de Télémaque, loosely based on characters from the Odyssey, the author Fénelon describes how Telemachus, the son of Odysseus, fell passionately in love with the beautiful nymph Eucharis. His duty as a son, however, required that he end their romance and depart in search of his missing father. The ill-fated lovers say farewell in a grotto on Calypso's island. Facing towards us, Telemachus's blue tunic falls open to reveal his naked torso. Eucharis, seen in profile, encircles Telemachus's neck and gently rests her head upon his shoulder in resignation. In this way, Jacques-Louis David contrasts masculine rectitude with female emotion. David painted The Farewell of Telemachus and Eucharis during his exile in Brussels. The use of saturated reds and blues contrasted with flesh tones and combined with a clarity of line and form typifies the Neoclassical style, which is characteristic of David's late history paintings. Text from: www.getty.edu/art/collection/objects/806/jacques-louis-david-the-farewell-of-telemachus-and-eucharis-french-1818

Title: The Farewell of Telemachus and Eucharis Artist/Maker: Jacques-Louis David (French, 1748 - 1825) Culture: French Date: 1818 Medium: Oil on canvas Dimensions: 88.3 × 103.2 cm (34 3/4 × 40 5/8 in.) Signed: Signed on quiver: "L.DAVID"; dated on horn: "1818 / BRVX" Department: Paintings Classification: Paintings Object Type: Painting Object Number: 87.PA.27  Fixing the viewer with a dreamy gaze, the fair-haired Telemachus grasps Eucharis's thigh with his right hand while holding his sword upright with the other. In the 1699 French novel Les Aventures de Télémaque, loosely based on characters from the Odyssey, the author Fénelon describes how Telemachus, the son of Odysseus, fell passionately in love with the beautiful nymph Eucharis. His duty as a son, however, required that he end their romance and depart in search of his missing father. The ill-fated lovers say farewell in a grotto on Calypso's island. Facing towards us, Telemachus's blue tunic falls open to reveal his naked torso. Eucharis, seen in profile, encircles Telemachus's neck and gently rests her head upon his shoulder in resignation. In this way, Jacques-Louis David contrasts masculine rectitude with female emotion. David painted The Farewell of Telemachus and Eucharis during his exile in Brussels. The use of saturated reds and blues contrasted with flesh tones and combined with a clarity of line and form typifies the Neoclassical style, which is characteristic of David's late history paintings. Text from: www.getty.edu/art/collection/objects/806/jacques-louis-david-the-farewell-of-telemachus-and-eucharis-french-1818