● On view now — Gallery 218
Art Institute of Chicago, Chicago · verified July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Dressed in Classically inspired robes, Lady Sarah Bunbury pours a libation of oil as an offering to the Three Graces, positioned behind her. Her soon-to-be husband, Charles Bunbury, commissioned this marriage portrait, making her association with the Graces—symbols of fertility and attendants to the Roman goddess of love, Venus—all the more appropriate. The first president of the Royal Academy in London, Sir Joshua Reynolds urged his fellow artists to paint historical and edifying subjects based on the art of antiquity and the Renaissance. As a portrait painter, he developed a grand style that ennobled the genre by giving his sitters Classical attributes and poses.
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Georgiana Augusta Frederica Elliott (1782–1813), Later Lady
Thomas (1740–1825) and Martha Neate (1741–after 1795) with H
Mrs. Lewis Thomas Watson (Mary Elizabeth Milles, 1767–1818)
George Capel, Viscount Malden (1757–1839), and Lady Elizabet
Captain George K. H. Coussmaker (1759–1801)
Theophilia Gwatkin
Anne Dashwood (1743–1830), Later Countess of Galloway
Portrait of a Woman
Edward Fisher — Lady Sarah Bunbury
Angelica Kauffmann (Swiss, 1741–1807) — A Dancing Young Woma
Angelica Kauffmann — Mrs. Hugh Morgan and Her Daughter
Ferdinand Bol — Margarita Trip as Minerva, Instructing her S
Angelica Kauffmann — The Sorrow of Telemachus
Mary Ann Yates|Robert Edge Pine|William Dickinson — Mrs. Yat
Thomas Lawrence (British, 1769–1830) — Portrait of Catherine
Edward Fisher (British, 1722–1785) — The Ladies Amabel and M
Jan Willem Pieneman — Allegory of the Death of William V, Pr
Gerard de Lairesse — Allegory of Riches
Jurriaan Andriessen — Behangselschildering met bacchante
Thomas Watson — Catherine, Lady Bampfylde