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Academy in Rome"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The French Academy in Rome</span></span></span></nav><div class="article-header_toah__ZJOup" data-sentry-component="ToahHeader" data-sentry-source-file="index.tsx"><header class="article-header_textWrapper__P1qsQ"><div class="header-text_body__x5rZI" data-sentry-component="ArticleHeaderText" data-sentry-source-file="index.tsx"><div class="header-text_type__7AZ9Q"><a class="header-text_seriesLink__TLy6I" href="/essays/timeline-of-art-history"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Timeline of Art History</span></a></div><div><h1 class="header-text_title__gc0_Q serif"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The French Academy in Rome</span></h1></div><div class="header-text_description__ELOXE"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">The classical ideal propagated at the Academy was complemented by the influence of contemporary art in Rome and the city’s thriving artistic community.</span></div><div class="header-text_byLine__14w8e"><div data-sentry-component="ContributorDisplayGroup" data-sentry-source-file="index.tsx"><address class="header-contributor_headerContributor__Cv43d" data-sentry-component="HeaderContributor" data-sentry-source-file="index.tsx"><span class="name_name__QJu4b" data-sentry-component="Name" data-sentry-source-file="index.tsx">Kathryn Calley Galitz</span></address></div><time class="header-text_date__rk5tn" dateTime="October 1, 2003" title="October 1, 2003">October 1, 2003</time></div></div></header><div data-sentry-component="ObjectsWithViewer" data-sentry-source-file="index.tsx"><div data-sentry-element="Container" data-sentry-source-file="index.tsx" class="shelf_wrapper__ZzHm8" data-sentry-component="Shelf"><div class="shelf_accessibilityMessage__9rNf1"><div>A slider containing 12 items.<br/>Press the down key to skip to the last item.</div></div><div class="shelf_slider__c2o5b"><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/337867"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/337867/761150/main-image" alt="Gardens of the Villa d'Este at Tivoli, Charles Joseph Natoire French, Pen and brown ink, brush and brown and gray wash, watercolor, heightened with white, over black and red chalk"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Gardens of the Villa d'Este at Tivoli" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/337867">Gardens of the Villa d'Este at Tivoli</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Charles Joseph Natoire</div></div><div>1760</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/334246"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/334246/754924/main-image" alt="Flying Figure Holding a Crown, Reclining River God, Jacques Louis David French, Black chalk"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Flying Figure Holding a Crown, Reclining River God" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/334246">Flying Figure Holding a Crown, Reclining River God</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Jacques Louis David</div></div><div>n.d.</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/339699"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/339699/729615/main-image" alt="Figures in One of Michelangelo's Niches on the Apse of St. Peter's, Rome, Hubert Robert French, Red chalk; framing lines in pen and brown ink"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Figures in One of Michelangelo's Niches on the Apse of St. Peter's, Rome" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/339699">Figures in One of Michelangelo's Niches on the Apse of St. Peter's, Rome</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Hubert Robert</div></div><div>ca. 1763</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/439120"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/439120/795915/main-image" alt="The Mass of Saint Basil, Pierre Hubert Subleyras French, Oil on canvas, transferred from canvas"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Mass of Saint Basil" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/439120">The Mass of Saint Basil</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Pierre Hubert Subleyras</div></div><div>1746</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/440464"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/440464/799940/main-image" alt="Pope Benedict XIV (Prospero Lambertini, 1675–1758), Pierre Hubert Subleyras French, Oil on canvas"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Pope Benedict XIV (Prospero Lambertini, 1675–1758)" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/440464">Pope Benedict XIV (Prospero Lambertini, 1675–1758)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Pierre Hubert Subleyras</div></div><div>1746</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/337725"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/337725/779129/main-image" alt="The Round Tower, from "Carceri d'invenzione" (Imaginary Prisons), Giovanni Battista Piranesi Italian, Etching, engraving, sulphur tint or open bite, burnishing; first state of four (Robison)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="The Round Tower, from "Carceri d'invenzione" (Imaginary Prisons)" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/337725">The Round Tower, from "Carceri d'invenzione" (Imaginary Prisons)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Giovanni Battista Piranesi</div><div>Giovanni Bouchard</div></div><div>ca. 1749–50</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/360443"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/360443/729595/main-image" alt="View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from "Vedute di Roma" (Views of Rome), part I, Giovanni Battista Piranesi Italian, Etching; third state of five (Hind)"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from "Vedute di Roma" (Views of Rome), part I" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/360443">View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from "Vedute di Roma" (Views of Rome), part I</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Giovanni Battista Piranesi</div></div><div>ca. 1750–78</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/437244"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/437244/795987/main-image" alt="Ancient Rome, Giovanni Paolo Panini Italian, Oil on canvas"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Ancient Rome" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/437244">Ancient Rome</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Giovanni Paolo Panini</div></div><div>1757</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/437245"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/437245/795984/main-image" alt="Modern Rome, Giovanni Paolo Panini Italian, Oil on canvas"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Modern Rome" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/437245">Modern Rome</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Giovanni Paolo Panini</div></div><div>1757</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/360270"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/360270/728054/main-image" alt="Veduta dell'Anfiteatro Flavio detto il Colosseo, from: 'Vedute di Roma' (Views of Rome), Giovanni Battista Piranesi Italian, Etching"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Veduta dell'Anfiteatro Flavio detto il Colosseo, from: 'Vedute di Roma' (Views of Rome)" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/360270">Veduta dell'Anfiteatro Flavio detto il Colosseo, from: 'Vedute di Roma' (Views of Rome)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Giovanni Battista Piranesi</div></div><div>1776</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/335114"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/335114/741743/main-image" alt="Seated Female Nude (recto); Standing Male Nude (verso), Pierre Paul Prud'hon French, Black and white chalk, stumped, on blue paper"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Seated Female Nude (recto); Standing Male Nude (verso)" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/335114">Seated Female Nude (recto); Standing Male Nude (verso)</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Pierre Paul Prud'hon</div></div><div>probably between 1810–20</div></div></figcaption></figure><figure class="collection-object_collectionObject__SuPct" data-sentry-component="CollectionObject" data-sentry-source-file="index.tsx"><div class="collection-object_imageWrapper__dUMo_"><a class="redundant-link_redundantlink__b5TFR" aria-hidden="true" tabindex="-1" data-sentry-element="GTMLink" data-sentry-source-file="index.jsx" data-sentry-component="RedundantLink" href="/en/art/collection/search/337518"></a><img loading="lazy" class="collection-object_image__XVQPm false" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/337518/749592/main-image" alt="Seated Male Nude, Louis Lagrenée French, Red chalk"/></div><figcaption class="collection-object_caption__Wbhum" data-sentry-element="figcaption" data-sentry-source-file="index.tsx"><div class="collection-object_title__1MnJJ"><a class="collection-object_link__qM3YR" title="Seated Male Nude" data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/en/art/collection/search/337518">Seated Male Nude</a></div><div class="collection-object_body__cW9co"><div class="collection-object_culture__BaSXn"><div>Louis Lagrenée</div></div><div>n.d.</div></div></figcaption></figure></div></div></div></div><section class="page-section_wrapper__mFtQK" data-sentry-element="PageSection" data-sentry-source-file="index.jsx" data-sentry-component="PageSection"><article class="editorial-rich-text_article__Xq9_7" data-sentry-component="EditorialRichText" data-sentry-source-file="index.tsx"><p>The founding of the French Academy in Rome in 1666 as a branch of the <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/sara/hd_sara.htm">Royal Academy of Painting and Sculpture</a> in Paris signaled the seminal importance of the classical tradition in the Academy’s program of art education. Its significance was underscored by the establishment of the Prix de Rome in 1674, an award given to the most promising painters, sculptors, and (after 1720) architects, for a period of three to five years of study in Rome. In its early history, the Academy was housed at several locations, until its installation in 1725 at the Palazzo Mancini on the Corso, where it remained until 1802 (presently located at the <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/villa/hd_villa.htm">Villa Medici</a>). The curriculum emphasized direct contact with antique art, as captured in a painting by Giovanni Panini of 1757 entitled <em>Ancient Rome </em><span class="object-viewer-button_noWrap__7DU0N">(<button title="Preview of "Ancient Rome"" class="object-viewer-button_button__qhXAE"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="object-viewer-button_icon__VqqLQ" data-sentry-element="ImageIcon" data-sentry-source-file="index.tsx"><path fill="currentColor" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0"></path><path fill="currentColor" fill-rule="evenodd" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path><path stroke="currentColor" stroke-width="0.25" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0Z"></path><path stroke="currentColor" stroke-width="0.25" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path></svg><span class="object-viewer-button_text__q5TcT">52.63.1</span></button>)</span>, in which students sketch the <em>Dying Gladiator</em> amidst the greatest monuments of classical antiquity, including the <em>Farnese Hercules</em> and the <em>Laocoön</em>. Panini taught perspective at the Academy, where the curriculum also included <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/anat/hd_anat.htm">anatomy</a> and life drawing. Additionally, students—or pensioners, as they were called—were required to execute copies of paintings and sculptures as part of their training and in response to commissions from the French king, the Academy’s patron.</p><p>The classical ideal propagated at the Academy was complemented by the influence of <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/baro/hd_baro.htm">contemporary art in Rome</a> and the city’s thriving artistic community. The Baroque dynamism of <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/bern/hd_bern.htm">Bernini’s sculpture</a> informed the style of a generation of artists that included the sculptor Nicolas Coustou, a pensioner from 1683 to 1687. As a testament to Bernini’s enduring influence, his sculptures—including <em>Apollo and Daphne</em> and the Fountain of the Four Rivers—populate Panini’s 1757 <em>Modern Rome</em> <span class="object-viewer-button_noWrap__7DU0N">(<button title="Preview of "Modern Rome"" class="object-viewer-button_button__qhXAE"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="object-viewer-button_icon__VqqLQ" data-sentry-element="ImageIcon" data-sentry-source-file="index.tsx"><path fill="currentColor" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0"></path><path fill="currentColor" fill-rule="evenodd" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path><path stroke="currentColor" stroke-width="0.25" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0Z"></path><path stroke="currentColor" stroke-width="0.25" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path></svg><span class="object-viewer-button_text__q5TcT">52.63.2</span></button>)</span>, the companion piece to his view of ancient Rome. Alternatively, Piranesi’s etched <em>vedutes</em>, or views, of Rome <span class="object-viewer-button_noWrap__7DU0N">(<button title="Preview of "View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from "Vedute di Roma" (Views of Rome), part I"" class="object-viewer-button_button__qhXAE"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="object-viewer-button_icon__VqqLQ" data-sentry-element="ImageIcon" data-sentry-source-file="index.tsx"><path fill="currentColor" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0"></path><path fill="currentColor" fill-rule="evenodd" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path><path stroke="currentColor" stroke-width="0.25" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0Z"></path><path stroke="currentColor" stroke-width="0.25" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path></svg><span class="object-viewer-button_text__q5TcT">41.71.1.16(29)</span></button>)</span>, the earliest of which were published in 1745, resonated into the 1780s among students of both painting and architecture and significantly contributed to the development of <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/neoc_1/hd_neoc_1.htm">Neoclassicism</a>. <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/pira/hd_pira.htm">Piranesi’s imagery</a>, which fuses topography, archaeology, and fantasy, informs the landscape caprices of Hubert Robert, who met Piranesi two years after his arrival in Rome in 1754; the dramatic lighting contrasts and unusual compositional angles in Robert’s imaginary views of classical ruins reflect Piranesi’s vision.</p><p>Rome—its monuments and its topography—also served as inspiration. Charles Joseph Natoire, who assumed the directorship of the Academy in 1751, encouraged the informal study of landscape; during his tenure, both Robert and <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/frag/hd_frag.htm">Fragonard</a>, who arrived as a pensioner in 1756, benefited from his plein-air excursions, executing landscape studies of sites in Rome and its environs, including Tivoli. Natoire himself produced a body of picturesque landscape drawings <span class="object-viewer-button_noWrap__7DU0N">(<button title="Preview of "Gardens of the Villa d'Este at Tivoli"" class="object-viewer-button_button__qhXAE"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="object-viewer-button_icon__VqqLQ" data-sentry-element="ImageIcon" data-sentry-source-file="index.tsx"><path fill="currentColor" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0"></path><path fill="currentColor" fill-rule="evenodd" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path><path stroke="currentColor" stroke-width="0.25" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0Z"></path><path stroke="currentColor" stroke-width="0.25" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path></svg><span class="object-viewer-button_text__q5TcT">65.65</span></button>)</span>.</p><p>Natoire was succeeded in 1776 by Joseph Marie Vien, who was accompanied by his pupil, <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/jldv/hd_jldv.htm">Jacques Louis David</a>, winner of the Prix de Rome in 1774. Although he executed the requisite drawings after antique sculptures <span class="object-viewer-button_noWrap__7DU0N">(<button title="Preview of "Flying Figure Holding a Crown, Reclining River God"" class="object-viewer-button_button__qhXAE"><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 24 24" class="object-viewer-button_icon__VqqLQ" data-sentry-element="ImageIcon" data-sentry-source-file="index.tsx"><path fill="currentColor" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0"></path><path fill="currentColor" fill-rule="evenodd" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path><path stroke="currentColor" stroke-width="0.25" d="M18 7.5a1.5 1.5 0 1 1-3 0 1.5 1.5 0 0 1 3 0Z"></path><path stroke="currentColor" stroke-width="0.25" d="M5 3a2 2 0 0 0-2 2v14a2 2 0 0 0 2 2h14a2 2 0 0 0 2-2V5a2 2 0 0 0-2-2zm.481 1.649a1 1 0 0 0-1 1V15.65C5.845 13.22 8.146 10 8.146 10l4.392 6.421 3.859-4.51 3.1 6.113V5.649a1 1 0 0 0-1-1z" clip-rule="evenodd"></path></svg><span class="object-viewer-button_text__q5TcT">63.92.1</span></button>)</span>, David was drawn to seventeenth-century art, developing a style that fused classical rigor with <a target="_self" rel="noreferrer" data-sentry-element="Link" data-sentry-component="ExternalLink" data-sentry-source-file="index.jsx" href="/toah/hd/baro/hd_baro.htm">Baroque</a> drama, as embodied in the austere grandeur of his <em>Oath of the Horatii </em>(Musée du Louvre, Paris), a work that David returned to Rome to paint in 1784.</p><p>In the political turmoil following the Revolution of 1789, the Royal Academy of Painting and Sculpture was abolished in 1793 by decree of the National Convention—an act ardently advocated by David—and the Prix de Rome was suspended until 1797. Ironically, the subsequent history of the Academy’s Roman counterpart would be shaped largely by David’s students, culminating in 1834 with the appointment of Ingres as director of the French Academy in Rome.</p></article><section id="contributors" class="article-page-section_wrapper__FJrgg" data-sentry-component="ArticlePageSection" data-sentry-source-file="index.tsx"><hr class="article-page-section_divider__orm0d"/><h4 class="article-page-section_title__vApqN">Contributors</h4><div style="display:flex;flex-direction:column;flex-wrap:nowrap;gap:var(--spacing-micro)" class="essay_xsText__s0Zdx" data-sentry-element="Element" data-sentry-component="FlexContainer" data-sentry-source-file="index.jsx"><div class="essay_xsText__s0Zdx"><p><strong>Kathryn Calley Galitz</strong><br/>Department of European Paintings, The Metropolitan Museum of Art<br/></p><p>October 2003</p></div></div></section><section id="further-reading" class="article-page-section_wrapper__FJrgg" data-sentry-component="ArticlePageSection" data-sentry-source-file="index.tsx"><hr class="article-page-section_divider__orm0d"/><h4 class="article-page-section_title__vApqN">Further Reading</h4><div class="essay_xsText__s0Zdx"><p>Diederen, Roger, ed. <em>French Artists in Rome: Ingres to Degas, 1803–1873</em>. Exhibition catalogue. New York: Dahesh Museum of Art, 2003.</p></div></section><section id="citation" class="article-page-section_wrapper__FJrgg" data-sentry-component="ArticlePageSection" data-sentry-source-file="index.tsx"><hr class="article-page-section_divider__orm0d"/><h4 class="article-page-section_title__vApqN">Citation</h4><div class="essay_citationFix__yjCm7"><div class="tab-drawer_wrapper__Go80z undefined" data-sentry-component="TabDrawers" data-sentry-source-file="index.tsx"><div class="tabs_wrapper__xVpUT undefined" data-sentry-component="Tabs" data-sentry-source-file="index.jsx"><fieldset class="tabs_fieldset__NRtDM"><legend data-sentry-element="Element" data-sentry-source-file="index.jsx" class="screen-reader-only_text__226tQ" data-sentry-component="ScreenReaderOnly">View Citations</legend><div class="tabs_tab__shByP"><input type="radio" id="MLA-tab-id" class="tabs_input__mwg3g" name="citation-tabs" checked="" value="MLA"/><label for="MLA-tab-id" class="tabs_label__YG6gQ tabs_small__4mOy2"><div class="tabs_tabText__tixoU">MLA</div></label></div></fieldset></div><div class="tab-drawer_bodyWrapper__qg8iy null"><div><p>Galitz, Kathryn Calley. “The French Academy in Rome.” In <em>Heilbrunn Timeline of Art History</em>. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/frac/hd_frac.htm (October 2003)</p><div class="copy-to-clipboard_copyToClipboard__Wnd48" data-sentry-component="CopyToClipboard" data-sentry-source-file="index.tsx"><button class=" tertiary" data-sentry-component="Button" data-sentry-source-file="index.jsx">Copy to clipboard <svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 48 48" class="copy-to-clipboard_copyIcon__z1UXM"><g fill="#333"><path d="M40 6a2 2 0 0 1 2 2v26.007a2 2 0 0 1-2 2h-2V32.74a2 2 0 0 0 1-1.733V11a2 2 0 0 0-2-2H16.999a2 2 0 0 0-1.732 1h-3.268V8a2 2 0 0 1 2-2z"></path><path fill-rule="evenodd" d="M36 14a2 2 0 0 0-2-2H8a2 2 0 0 0-2 2v26a2 2 0 0 0 2 2h26a2 2 0 0 0 2-2zm-3 3a2 2 0 0 0-2-2H11a2 2 0 0 0-2 2v20a2 2 0 0 0 2 2h20a2 2 0 0 0 2-2z" clip-rule="evenodd"></path></g></svg></button></div></div></div></div></div></section><hr class="page-section_divider__gPkcZ"/></section><section id="more-from-the-timeline-of-art-history" class="page-section_clampedWidthWrapper__kBLdL" data-sentry-component="PageSection" data-sentry-source-file="index.jsx"><div class="component-header_wrapper__kS6_W" data-sentry-component="ComponentHeader" data-sentry-source-file="index.tsx"><div class="component-header_titleAndLinkWrapper__mDA0q"><div><h2><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">More from the Timeline of Art History</span></h2></div><div class="component-header_cta__CJLWF"><a class="link-button_linkButton__WrReH" data-sentry-element="Link" data-sentry-component="LinkButton" data-sentry-source-file="index.tsx" href="/essays?toah=true">View all<svg xmlns="http://www.w3.org/2000/svg" fill="none" viewBox="0 0 48 48" width="1em" height="1em"><path fill="currentColor" stroke="currentColor" stroke-width="2.5" d="M14 8.223 16.077 6 35 24.011 16.079 42 14 39.777l16.888-15.813z"></path></svg></a></div></div><p class="component-header_description__yxN6Q"></p></div><ul style="--grid-gap:var(--spacing-xxs);--grid-columns:3;--column-width:calc(15% + 150px)" class="grid_gridByColumnWidth__AuDEw grid_grid__Z8NYn " data-sentry-element="Element" data-sentry-component="GridContainer" data-sentry-source-file="index.jsx"><li class="article-list-item_card__nB7e5" data-sentry-component="ArticleListItem" data-sentry-source-file="index.tsx"><div class="article-list-item_seriesAndType__XfgDi"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Timeline of Art History</span> | <span class="article-list-item_type__umIQj"><span><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 28 37"><path fill="currentColor" d="M6.222 6.167h10.89v10.791H6.221V6.167zm15.556 13.875H6.222v1.363h15.556zm0 4.773H6.222v1.364h15.556zm-6.222 4.477H6.222v1.363h9.334z"></path><path fill="currentColor" fill-rule="evenodd" d="M0 0h28v37H0zm3.111 3.083H24.89v30.834H3.11V3.083z" clip-rule="evenodd"></path></svg></span>Essay</span></div><h5 class="article-list-item_title__sSsqt"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/essays/allegories-four-continents"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Allegories of the Four Continents</span></a></h5><time class="article-list-item_date__ap298"></time></li><li class="article-list-item_card__nB7e5" data-sentry-component="ArticleListItem" data-sentry-source-file="index.tsx"><div class="article-list-item_seriesAndType__XfgDi"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Timeline of Art History</span> | <span class="article-list-item_type__umIQj"><span><svg xmlns="http://www.w3.org/2000/svg" width="1em" height="1em" fill="none" viewBox="0 0 28 37"><path fill="currentColor" d="M6.222 6.167h10.89v10.791H6.221V6.167zm15.556 13.875H6.222v1.363h15.556zm0 4.773H6.222v1.364h15.556zm-6.222 4.477H6.222v1.363h9.334z"></path><path fill="currentColor" fill-rule="evenodd" d="M0 0h28v37H0zm3.111 3.083H24.89v30.834H3.11V3.083z" clip-rule="evenodd"></path></svg></span>Essay</span></div><h5 class="article-list-item_title__sSsqt"><a data-sentry-element="Link" data-sentry-source-file="index.tsx" href="/essays/baseball-cards-in-the-jefferson-r-burdick-collection-at-the-met"><span data-sentry-element="Markdown" data-sentry-component="MarkdownParser" data-sentry-source-file="index.jsx">Baseball Cards in the Jefferson R. 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To emphasize the curvature of Michelangelo's niche, Robert chose a low, oblique vantage point. The perspective presented difficulties nonetheless, despite his use of a straight edge in places. On the left, the hatching sets the columns in shadow, but does not produce a convincing sense of volume. Nor is the rendering of the right side of the pediment, where it is supported by columns and brackets, convincing, largely due to the fact that the perspective of the cornice and that of the entablature do not align. Despite the clumsiness of occasional passages, the architecture plays host to groupings of quickly sketched peasants, some of whom have clambered up into the empty niche, occupying a space presumably intended for sculptures. 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Along with another drawing in the museum’s collection, \u003ci\u003eFigures in a Roman Arcade\u003c/i\u003e (1972.118.228), this sheet would have been part of nos. 311 to 315, or 317 of the inventory drawn up on August 18, 1821, following the death of Robert’s wife. \u003cbr/\u003e\u003cbr/\u003eSarah Catala (December 2016)22:T540,A native of Venice, Piranesi went to Rome at age twenty and where he remained for the remainder of his life. Rome was the inspiration for and subject of most of his etchings that number over a thousand. Piranesi studied architecture, engineering and stage design, and his first plans for buildings reflect his training combined with the tremendous impact of classical Roman architecture. The fourteen plates depicting prisons - probably Piranesi's best-known series - were described on their title page as ‘capricious inventions.’ These structures, their immensity emphasized by the low viewpoint and the diminutive figures, derive from stage prisons rather than real ones. Actual prisons in the Italy were tiny dungeons. Spatial anomalies and ambiguities abound in all the images of the series; they were not meant to be logical but to express the vastness and strength that Piranesi experienced in contemplating Roman architecture.\u003cbr/\u003eAbout ten years later, Piranesi reworked these plates and added two new images to the series. The reworked plates are even darker and more complex, with added details and inscriptions. While it is hard to find meaning in the first state of the series, the second state includes explicit references to the justice system un"])</script><script>self.__next_f.push([1,"der the Roman Republic and to the cruelty for which certain emperors were known.23:T4dc,Piranesi's thorough familiarity with the Colosseum—he had already produced three views of this most famous of Roman ruins—and his skill at perspective rendering allowed him to produce this magnificent view of the ancient amphitheater seen as if from the air. By allowing the monument to fill the entire sheet of paper and by placing tiny figures in the center of the image, Piranesi effectively conveys the vastness of the ruin, while the bird's-eye view reveals the plan and exposes the structure. Piranesi's labels are indicative of his antiquarian research; they inform us of the location in which each rank of Roman society would have been seated, from the emperor and his court to the noble youth with their teachers. The overall darkness of the image, while characteristic of Piranesi's late Vedute, gives the impression that the Colosseum is lit by the moon—we know that Piranesi studied ruins under such conditions. Only the center of the theater is illuminated, where tiny figures gather around the monumental cross. This crucifix, together with the stations of the cross that surround the arena, were added by Pope Benedict XIV in 1743 to sanctify the space in which it was believed that many early Christians had been martyred."])</script><script>self.__next_f.push([1,"b:[\"$\",\"main\",null,{\"data-sentry-component\":\"EssayDetailPage\",\"data-sentry-source-file\":\"page.tsx\",\"children\":[[\"$\",\"$L1d\",null,{\"id\":\"json-ld-essay\",\"type\":\"application/ld+json\",\"strategy\":\"afterInteractive\",\"dangerouslySetInnerHTML\":{\"__html\":\"{\\\"@context\\\":\\\"https://schema.org\\\",\\\"@type\\\":\\\"Article\\\",\\\"headline\\\":\\\"The French Academy in Rome\\\",\\\"url\\\":\\\"https://metmuseum.org/essays/the-french-academy-in-rome\\\",\\\"datePublished\\\":\\\"2003-10-01T00:00:00.000Z\\\",\\\"essaySection\\\":\\\"Essays\\\",\\\"creator\\\":[\\\"Kathryn Calley Galitz\\\"]}\"},\"data-sentry-element\":\"Script\",\"data-sentry-source-file\":\"page.tsx\"}],[\"$\",\"$L1e\",null,{\"segments\":[{\"name\":\"All Essays\",\"path\":\"/essays\"},{\"name\":\"The French Academy in Rome\",\"path\":\"/essays/the-french-academy-in-rome\"}],\"data-sentry-element\":\"Breadcrumbs\",\"data-sentry-source-file\":\"page.tsx\"}],[\"$\",\"div\",null,{\"className\":\"article-header_toah__ZJOup\",\"data-sentry-component\":\"ToahHeader\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"header\",null,{\"className\":\"article-header_textWrapper__P1qsQ\",\"children\":[\"$\",\"div\",null,{\"className\":\"header-text_body__x5rZI\",\"data-sentry-component\":\"ArticleHeaderText\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"div\",null,{\"className\":\"header-text_type__7AZ9Q\",\"children\":[\"$\",\"$L1f\",null,{\"className\":\"header-text_seriesLink__TLy6I\",\"href\":\"/essays/timeline-of-art-history\",\"children\":[\"$\",\"$L1c\",null,{\"children\":\"Timeline of Art History\"}]}]}],[\"$\",\"div\",null,{\"children\":[[\"$\",\"h1\",null,{\"className\":\"header-text_title__gc0_Q serif\",\"children\":[\"$\",\"$L1c\",null,{\"data-sentry-element\":\"MarkdownParser\",\"data-sentry-source-file\":\"index.tsx\",\"children\":\"The French Academy in Rome\"}]}],\"$undefined\"]}],[\"$\",\"div\",null,{\"className\":\"header-text_description__ELOXE\",\"children\":[\"$\",\"$L1c\",null,{\"children\":\"The classical ideal propagated at the Academy was complemented by the influence of contemporary art in Rome and the city’s thriving artistic community.\"}]}],[\"$\",\"div\",null,{\"className\":\"header-text_byLine__14w8e\",\"children\":[[\"$\",\"div\",null,{\"data-sentry-component\":\"ContributorDisplayGroup\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[[\"$\",\"address\",\"8319595d-3454-46c0-9a7a-eeae97c1bb27\",{\"className\":\"header-contributor_headerContributor__Cv43d\",\"data-sentry-component\":\"HeaderContributor\",\"data-sentry-source-file\":\"index.tsx\",\"children\":[\"$\",\"span\",null,{\"className\":\"name_name__QJu4b\",\"data-sentry-component\":\"Name\",\"data-sentry-source-file\":\"index.tsx\",\"children\":\"Kathryn Calley Galitz\"}]}]]}],[\"$\",\"time\",null,{\"className\":\"header-text_date__rk5tn\",\"dateTime\":\"October 1, 2003\",\"title\":\"October 1, 2003\",\"children\":\"October 1, 2003\"}],false,false]}]]}]}],[\"$\",\"$L20\",null,{\"Container\":\"$1a\",\"objects\":[{\"__typename\":\"Object\",\"id\":337867,\"objectID\":337867,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Gardens of the Villa d'Este at Tivoli\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Charles Joseph Natoire\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Charles Joseph Natoire\"}]},\"period\":null,\"date\":\"1760\",\"culture\":\"\",\"medium\":\"Pen and brown ink, brush and brown and gray wash, watercolor, heightened with white, over black and red chalk\",\"dimensions\":\"12 5/16 x 18 11/16 in. (31.3 x 47.5 cm)\",\"creditLine\":\"Rogers Fund, 1965\",\"accessionNumber\":\"65.65\",\"webLabel\":\"Director of the French Academy in Rome from 1751 to 1775, Natoire taught many young French artists, including Hubert Robert and Jean Honoré Fragonard. During this period he received occasional commissions for paintings but increasingly devoted his time to landscape drawings, often worked up in watercolor. The Villa d’Este in Tivoli, outside Rome, was a favorite destination for Natoire and his students, popular for its dramatic vistas featuring fountains and statues set amid lush foliage. In this example, we see the Fountain of the Water Organ flanked by trees, with a cascade falling below. Invented figures enliven the foreground.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":337867,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/337867/761150/main-image\",\"altText\":\"Gardens of the Villa d'Este at Tivoli, Charles Joseph Natoire French, Pen and brown ink, brush and brown and gray wash, watercolor, heightened with white, over black and red chalk\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":334246,\"objectID\":334246,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Flying Figure Holding a Crown, Reclining River God\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Jacques Louis David\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Jacques Louis David\"}]},\"period\":null,\"date\":\"n.d.\",\"culture\":\"\",\"medium\":\"Black chalk\",\"dimensions\":\"6 7/16 x 5 1/2 in. (16.3 x 14 cm.)\",\"creditLine\":\"Rogers Fund, 1963\",\"accessionNumber\":\"63.92.1\",\"webLabel\":\"As a student at the French Academy, David filled sketchbooks with drawings after antique as well as Baroque art, including this sketch of figures from Pietro da Cortona's fresco, The Assumption of the Virgin, in the apse of the Church of Santa Maria in Vallicella in Rome. In this drawing, one of two that he made after this fresco, David has modified the relative placement of the two figures as they appear in Cortona's ceiling to conform to the format of his sheet.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":334246,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/334246/754924/main-image\",\"altText\":\"Flying Figure Holding a Crown, Reclining River God, Jacques Louis David French, Black chalk\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":339699,\"objectID\":339699,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Figures in One of Michelangelo's Niches on the Apse of St. Peter's, Rome\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Hubert Robert\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Hubert Robert\"}]},\"period\":null,\"date\":\"ca. 1763\",\"culture\":\"\",\"medium\":\"Red chalk; framing lines in pen and brown ink\",\"dimensions\":\"17 15/16 x 13 3/16 in. (45.6 x 33.5 cm)\",\"creditLine\":\"Bequest of Walter C. Baker, 1971\",\"accessionNumber\":\"1972.118.229\",\"webLabel\":\"$21\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":339699,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/339699/729615/main-image\",\"altText\":\"Figures in One of Michelangelo's Niches on the Apse of St. Peter's, Rome, Hubert Robert French, Red chalk; framing lines in pen and brown ink\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":439120,\"objectID\":439120,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Mass of Saint Basil\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Pierre Hubert Subleyras\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Pierre Hubert Subleyras\"}]},\"period\":\"\",\"date\":\"1746\",\"culture\":\"\",\"medium\":\"Oil on canvas, transferred from canvas\",\"dimensions\":\"54 x 31 1/8 in. (137 x 79 cm)\",\"creditLine\":\"Wrightsman Fund, 2007\",\"accessionNumber\":\"2007.166\",\"webLabel\":\"This is Subleyras’s highly finished proposal, or modello, for his most important commission: a design that would be translated into an enormous mosaic altarpiece for Saint Peter’s Basilica in Rome. Subleyras depicts Saint Basil the Great (ca. 330–379) celebrating Mass in the presence of the Emperor Valens (328–378). The artist’s exceptional ability to depict white in all its tonal range is evident in the robes of the priests who surround Basil as he receives wine for Communion. The young emperor, picked out by his bright red cape, swoons dramatically in response to what he witnesses.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":439120,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/439120/795915/main-image\",\"altText\":\"The Mass of Saint Basil, Pierre Hubert Subleyras French, Oil on canvas, transferred from canvas\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":\"627\",\"onView\":true}},{\"__typename\":\"Object\",\"id\":440464,\"objectID\":440464,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Pope Benedict XIV (Prospero Lambertini, 1675–1758)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Pierre Hubert Subleyras\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Pierre Hubert Subleyras\"}]},\"period\":\"\",\"date\":\"1746\",\"culture\":\"\",\"medium\":\"Oil on canvas\",\"dimensions\":\"25 1/4 x 19 1/4 in. (64.1 x 48.9 cm)\",\"creditLine\":\"Purchase, Friends of European Paintings Gifts, Bequest of Joan Whitney Payson, by exchange, Gwynne Andrews Fund, Charles and Jessie Price Gift, and Valerie Delacorte Fund Gift, in memory of George T. Delacorte, 2009\",\"accessionNumber\":\"2009.145\",\"webLabel\":\"Subleyras was chosen to paint Pope Benedict XIV’s state portrait, but this direct, informal image takes us much closer to the man whom antiquarian and Grand Tourist Horace Walpole described as “a priest without insolence or interest, a prince without favorites.” His slack jawline and five o’clock shadow humanize the most holy sitter in Europe. A supreme colorist, Subleyras was perfectly suited to tackle the limited palette of papal winter garb of an ermine‑lined cape (mozzetta) and hat (\u003ci\u003ecamauro\u003c/i\u003e). The stole is decorated with the papal keys and family armorial devices.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":440464,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/440464/799940/main-image\",\"altText\":\"Pope Benedict XIV (Prospero Lambertini, 1675–1758), Pierre Hubert Subleyras French, Oil on canvas\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":\"627\",\"onView\":true}},{\"__typename\":\"Object\",\"id\":337725,\"objectID\":337725,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"The Round Tower, from \\\"Carceri d'invenzione\\\" (Imaginary Prisons)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Battista Piranesi\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Battista Piranesi\"},{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Bouchard\"}]},\"period\":null,\"date\":\"ca. 1749–50\",\"culture\":\"\",\"medium\":\"Etching, engraving, sulphur tint or open bite, burnishing; first state of four (Robison)\",\"dimensions\":\"Sheet: 24 13/16 x 19 1/2 in. (63 x 49.5 cm)\u003cbr/\u003ePlate: 21 7/16 x 16 5/16 in. (54.5 x 41.5 cm)\",\"creditLine\":\"Harris Brisbane Dick Fund, 1937\",\"accessionNumber\":\"37.45.3(27)\",\"webLabel\":\"$22\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":337725,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/337725/779129/main-image\",\"altText\":\"The Round Tower, from \\\"Carceri d'invenzione\\\" (Imaginary Prisons), Giovanni Battista Piranesi Italian, Etching, engraving, sulphur tint or open bite, burnishing; first state of four (Robison)\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":360443,\"objectID\":360443,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from \\\"Vedute di Roma\\\" (Views of Rome), part I\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Battista Piranesi\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Battista Piranesi\"}]},\"period\":null,\"date\":\"ca. 1750–78\",\"culture\":\"\",\"medium\":\"Etching; third state of five (Hind)\",\"dimensions\":\"Sheet: 20 1/2 x 29 5/16 in. (52 x 74.5 cm)\u003cbr/\u003ePlate: 15 15/16 x 24 7/16 in. (40.5 x 62 cm)\",\"creditLine\":\"Rogers Fund, transferred from the Library\",\"accessionNumber\":\"41.71.1.16(29)\",\"webLabel\":\"Piranesi arrived in Rome in 1740 and quickly perceived the demand for views of the city. By 1748, he had produced the first of 135 etchings of classical and Baroque Rome, the 'Vedute di Roma' (Views of Rome). The series evolved over the remaining three decades of his career. This view of the Palazzo Mancini (the seat of the French Academy since 1725), emphasizes the dramatic perspective of the Corso and reveals Piranesi's interest in the topography as well as in contemporary urban life.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":360443,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/360443/729595/main-image\",\"altText\":\"View along the Via del Corso of the Palazzo dell'Accademia, established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture..., from \\\"Vedute di Roma\\\" (Views of Rome), part I, Giovanni Battista Piranesi Italian, Etching; third state of five (Hind)\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":437244,\"objectID\":437244,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Ancient Rome\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Paolo Panini\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Paolo Panini\"}]},\"period\":\"\",\"date\":\"1757\",\"culture\":\"\",\"medium\":\"Oil on canvas\",\"dimensions\":\"67 3/4 x 90 1/2 in. (172.1 x 229.9 cm)\",\"creditLine\":\"Gwynne Andrews Fund, 1952\",\"accessionNumber\":\"52.63.1\",\"webLabel\":\"\u003ci\u003eAncient Rome\u003c/i\u003e is a pendant to \u003ci\u003eModern Rome\u003c/i\u003e (on view nearby) and catalogs some of the city’s most famous monuments. Guidebooks and writings on art in the 1700s typically contrasted ancient and modern works in order to draw out their strengths and weaknesses. Like luxurious postcards, the paintings depicted here in miniature present a condensed itinerary of must-see sights. The comte de Stainville (later the duc de Choiseul), the French ambassador to Rome who commissioned this pair of canvases, appears at the center holding a guidebook; Panini included himself behind the chair. The Pantheon, the Colosseum, Trajan’s Column, and the Laocoön are among the sites depicted. To see a full list of the monuments represented, visit this object’s record at The Met website.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":437244,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437244/795987/main-image\",\"altText\":\"Ancient Rome, Giovanni Paolo Panini Italian, Oil on canvas\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":\"627\",\"onView\":true}},{\"__typename\":\"Object\",\"id\":437245,\"objectID\":437245,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Modern Rome\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Paolo Panini\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Paolo Panini\"}]},\"period\":\"\",\"date\":\"1757\",\"culture\":\"\",\"medium\":\"Oil on canvas\",\"dimensions\":\"67 3/4 x 91 3/4 in. (172.1 x 233 cm)\",\"creditLine\":\"Gwynne Andrews Fund, 1952\",\"accessionNumber\":\"52.63.2\",\"webLabel\":\"\u003ci\u003eModern Rome\u003c/i\u003e is a pendant to \u003ci\u003eAncient Rome\u003c/i\u003e (on view nearby) and catalogs some of the city’s most famous monuments from the two centuries prior to the execution of these paintings. Guidebooks and writings on art typically contrasted modern and ancient works to better draw out their strengths and weaknesses. Akin to luxurious postcards, they condense an itinerary of must-see sights. They were commissioned by the comte de Stainville, later duc de Choiseul, ambassador to Rome from 1753 to 1757; he is shown seated in an armchair. Among the works illustrated are Michelangelo’s Moses and statues by Gian Lorenzo Bernini. For more about this painting, including the identification of additional monuments, visit its collection record at The Met website.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":437245,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/437245/795984/main-image\",\"altText\":\"Modern Rome, Giovanni Paolo Panini Italian, Oil on canvas\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":\"627\",\"onView\":true}},{\"__typename\":\"Object\",\"id\":360270,\"objectID\":360270,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Veduta dell'Anfiteatro Flavio detto il Colosseo, from: 'Vedute di Roma' (Views of Rome)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Battista Piranesi\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Giovanni Battista Piranesi\"}]},\"period\":null,\"date\":\"1776\",\"culture\":\"\",\"medium\":\"Etching\",\"dimensions\":\"Sheet: 30 x 40 in. (76.2 x 101.6 cm)\",\"creditLine\":\"The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959\",\"accessionNumber\":\"59.570.426\",\"webLabel\":\"$23\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":360270,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/360270/728054/main-image\",\"altText\":\"Veduta dell'Anfiteatro Flavio detto il Colosseo, from: 'Vedute di Roma' (Views of Rome), Giovanni Battista Piranesi Italian, Etching\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":335114,\"objectID\":335114,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Seated Female Nude (recto); Standing Male Nude (verso)\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Pierre Paul Prud'hon\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Pierre Paul Prud'hon\"}]},\"period\":null,\"date\":\"probably between 1810–20\",\"culture\":\"\",\"medium\":\"Black and white chalk, stumped, on blue paper\",\"dimensions\":\"22 x 15 in. (55.9 x 38.1 cm)\",\"creditLine\":\"Bequest of Walter C. Baker, 1971\",\"accessionNumber\":\"1972.118.226a, b\",\"webLabel\":\"This beautiful image of a seated female nude demonstrates Prud'hon's deep commitment to the study of the human figure. He has recorded a simple pose from a challenging point of view and modeled with utmost care the subtle forms of the ribs, knees, and thighs. Velvety shadow runs from the raised elbow to the figure's seat, and highlights soften the forms of the belly and breasts.\u003cbr/\u003e\u003cbr/\u003eThe point of view adopted here makes it easy to imagine a semicircle of artists around the model, with Prud'hon perhaps placed at one end. This gathering would have occurred in a private setting, since the Académie Royale did not allow female nude models at the time.\",\"images\":{\"__typename\":\"Images\",\"primary\":{\"__typename\":\"Image\",\"openAccess\":true,\"objectID\":335114,\"mainImageUrl\":\"https://collectionapi.metmuseum.org/api/collection/v1/iiif/335114/741743/main-image\",\"altText\":\"Seated Female Nude (recto); Standing Male Nude (verso), Pierre Paul Prud'hon French, Black and white chalk, stumped, on blue paper\"}},\"location\":{\"__typename\":\"Location\",\"gallery\":null,\"onView\":false}},{\"__typename\":\"Object\",\"id\":337518,\"objectID\":337518,\"titles\":{\"__typename\":\"Titles\",\"primary\":{\"__typename\":\"Title\",\"title\":\"Seated Male Nude\"}},\"artists\":{\"__typename\":\"Artists\",\"primary\":{\"__typename\":\"Artist\",\"displayName\":\"Louis Lagrenée\"},\"all\":[{\"__typename\":\"Artist\",\"displayName\":\"Louis Lagrenée\"}]},\"period\":null,\"date\":\"n.d.\",\"culture\":\"\",\"medium\":\"Red chalk\",\"dimensions\":\"15 5/8 x 19 15/16 in. (39.7 x 50.6 cm)\",\"creditLine\":\"Harry G. Sperling Fund, 1985\",\"accessionNumber\":\"1985.112.1\",\"webLabel\":\"This sheet is of a kind sometimes called an academy, that is, a carefully executed drawing of a nude in a studio pose. Although academies were standard exercises for young artists, they were also produced by established draftsmen like Lagrenée, who was a professor at the Académie Royale at the time this drawing was made.\u003cbr/\u003eAs was typical, the model assumes a posture inspired by other works of art. The brooding expression and arrangement of the legs recall figures by Michelangelo, making Lagrenée's drawing both a study of the pose from life and an homage to the earlier master. 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Its significance was underscored by the establishment of the Prix de Rome in 1674, an award given to the most promising painters, sculptors, and (after 1720) architects, for a period of three to five years of study in Rome. In its early history, the Academy was housed at several locations, until its installation in 1725 at the Palazzo Mancini on the Corso, where it remained until 1802 (presently located at the \",[\"$\",\"$L1f\",\"e6ceccbf67f63\",{\"className\":null,\"href\":\"/toah/hd/villa/hd_villa.htm\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Villa Medici\"]}],\"). The curriculum emphasized direct contact with antique art, as captured in a painting by Giovanni Panini of 1757 entitled \",[\"$\",\"em\",\"e6ceccbf67f65\",{\"children\":[\"Ancient Rome \"]}],\"\",\"$L24\",\", in which students sketch the \",[\"$\",\"em\",\"e6ceccbf67f69\",{\"children\":[\"Dying Gladiator\"]}],\" amidst the greatest monuments of classical antiquity, including the \",[\"$\",\"em\",\"e6ceccbf67f611\",{\"children\":[\"Farnese Hercules\"]}],\" and the \",[\"$\",\"em\",\"e6ceccbf67f613\",{\"children\":[\"Laocoön\"]}],\". Panini taught perspective at the Academy, where the curriculum also included \",[\"$\",\"$L1f\",\"e6ceccbf67f615\",{\"className\":null,\"href\":\"/toah/hd/anat/hd_anat.htm\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"anatomy\"]}],\" and life drawing. Additionally, students—or pensioners, as they were called—were required to execute copies of paintings and sculptures as part of their training and in response to commissions from the French king, the Academy’s patron.\"]}],[\"$\",\"p\",\"647243960a4d\",{\"children\":[\"The classical ideal propagated at the Academy was complemented by the influence of \",[\"$\",\"$L1f\",\"647243960a4d1\",{\"className\":null,\"href\":\"/toah/hd/baro/hd_baro.htm\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"contemporary art in Rome\"]}],\" and the city’s thriving artistic community. The Baroque dynamism of \",[\"$\",\"$L1f\",\"647243960a4d3\",{\"className\":null,\"href\":\"/toah/hd/bern/hd_bern.htm\",\"target\":\"_self\",\"rel\":\"noreferrer\",\"data-sentry-element\":\"Link\",\"data-sentry-component\":\"ExternalLink\",\"data-sentry-source-file\":\"index.jsx\",\"children\":[\"Bernini’s sculpture\"]}],\" informed the style of a generation of artists that included the sculptor Nicolas Coustou, a pensioner from 1683 to 1687. As a testament to Bernini’s enduring influence, his sculptures—including \",[\"$\",\"em\",\"647243960a4d5\",{\"children\":[\"Apollo and Daphne\"]}],\" and the Fountain of the Four Rivers—populate Panini’s 1757 \",[\"$\",\"em\",\"647243960a4d7\",{\"children\":[\"Modern Rome\"]}],\" \",\"$L25\",\", the companion piece to his view of ancient Rome. 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