Neoclassical architecture in Milan encompasses the main artistic movement from about 1750 to 1850 in this northern Italian city. From the final years of the reign of Maria Theresa of Austria, through the Napoleonic Kingdom of Italy and the European Restoration, Milan was in the forefront of a strong cultural and economic renaissance in which Neoclassicism was the dominant style, creating in Milan some of the most influential works in this style in Italy and across Europe. Notable developments include construction of the Teatro alla Scala, the restyled Royal Palace, and the Brera institutions including the Academy of Fine Arts, the Braidense Library and the Brera Astronomical Observatory. Neoclassicism also led to the development of monumental city gates, new squares and boulevards, as well as public gardens and private mansions. Latterly, two churches, San Tomaso in Terramara and San Carlo al Corso, were completed in Neoclassical style before the period came to an end in the late 1830s.

In 1714, the Treaty of Rastatt formalized the transfer of Milan from Spanish to Austrian rule. During the reign of Maria Theresa (1740–1780) and Joseph II (1765–1790), the city led a cultural and economic renaissance. The empress and her son, strongly influenced by the ideals of Enlightenment, played a significant role in the movement for reform. Thanks to its enlightened government and reforms, Milan was open to developments from Europe, quickly becoming a lively intellectual centre. As a result, influential proponents of the new styles, such as Pietro and Alessandro Verri and Cesare Beccaria arose. It was also the seat of the forward-looking newspaper Il Caffè and of the Accademia dei Pugni. The reforms covered important areas of interest to the public, especially the modern system of land registry, one of the most efficient in Europe. Between 1765 and 1785, Joseph II reduced the powers of the religious orders. The inquisition was abolished, meetings of religious orders, including those of the Jesuits were forbidden and their assets were transferred to the city where they were used for unprecedented urban renewal programmes. Coordinated by the court architect Giuseppe Piermarini, Neoclassicism became the style of the city's rebirth. The first public parks were opened while elegant mansions inspired by the new trend were built in carefully selected areas. Some of Milan's most famous institutions such as the Teatro alla Scala, the Brera cultural centre and the reformed Palatine Schools were created during this period.

In 1796, with Napoleon's arrival in Italy, Archduke Ferdinand of Austria left the city which from 1800, came into the hands of the French. French domination did not deter Milan's cultural activities. The rapidly growing population included some of the greatest Italian intellectuals, from Melchiorre Gioia to Vincenzo Monti and Alessandro Volta to Ugo Foscolo and Silvio Pellico. The Lombard Institute of Science and Letters was founded and several newspapers were established in the city. For the capital of the Kingdom of Italy as it now became, numerous urban projects were prepared with a view to giving Milan the look of one of Europe's main capitals, although they were never completed. For some time the inhabitants had drawn up petitions for dismantling the Sforza Castle and by his decree of 23 June 1800, Napoleon ordered its demolition. This was indeed begun in 1801 but was never completed. The same year the architect Giovanni Antonio Antolini was charged with designing a "Foro Bonaparte" (Bonapart Forum) but instead he suggested remodeling the castle in the Neoclassical style. As a result of its high costs, the project was however shelved. By decree in 1807, Milan and Venice were endowed with a "Commissione di Ornato" (Embellishment Committee) with vast powers and a wide sphere of activity. It was made up of the most prominent figures in Milan. The first item to be discussed was a master plan which was drafted the same year. Until 1814, the city's development was governed by the plan which "can be considered one of the most modern plans created in Europe.".

With the return of the Austrians in 1815, the city completed its cultural and economic success. Commercial and financial activities made Milan Italy's main business centre. Furthermore, thanks to the completion of many irrigation projects coordinated by the government, Milanese agriculture was among the most modern and best developed in Europe. At the same time, the city became the largest publishing and cultural centre of Italy with the involvement of figures including Carlo Cattaneo, Cesare Cantù and Carlo Tenca. Milan developed Neoclassical works in both the private and public domains: firstly as a result of the strong link between the Enlightenment and Neoclassical art, especially publicly funded architecture, and secondly the role that architecture played in celebrating the Neoclassical revolution and Napoleon's exploits. They inevitably came to an end with the Restoration. Neoclassicism began a slow decline, passing through periods of Romanticism and Eclecticism but nevertheless leaving a great legacy. Indeed, during this flourishing period, the foundations were laid for Milan later to become the economic capital and, in certain periods, also the cultural capital of a united Italy.

The Neoclassical period in Milan can be divided into three phases corresponding to three historical periods for the city in the 18th and 19th centuries: the Austrian period of Enlightenment, the Napoleonic years, and the Restoration.

In Milan, Neoclassicism began a few years later than in its main European counterparts, mainly as a result of the problems of succession to the throne of the Austrian empire, with Maria Theresa's lengthy reign. Initially, Neoclassicism in Milan, like the artists who practiced it, was not so much inspired by the classical models of Ancient Rome or Roman Neoclassicism as by developments in London, Paris and Parma. It was a period of great public works covering theatres, libraries and schools, and more generally of important works for the public good, reflecting the ambitions of an enlightened government. It was a period in which the State and the government itself led the city's cultural life and progress, promoting and funding new activities and rewarding the most deserving citizens and achievements. During this initial period, Neoclassicism was characterized by a more sober and austere approach, resulting in symmetrical, well-ordered structures.

The Napoleonic period, while demonstrating some continuity in reinitiating work suspended under the Austrian government, was also characterized by a more monumental and celebratory style, striving to promote Milan as one of the great European capitals with Eclectic and Romantic architectural features. In particular, outstanding new roads and city gates were completed. There were plans for a considerable number of projects designed to enhance the appearance of the city and to celebrate the victories of Bonaparte. However, as a result of the short period of French rule and the over ambitious nature of some of the works, they were largely set aside.

With the Restoration and the return of the Austrians, there was something of a revival of the previous Neoclassical style, although the progressive approach of enlightened governments was now coming to an end. During this period, sculpture and painting took on a primary role, promoted by annual festivals and competitions. The State had a less secular approach than in the two previous periods, initiating work on the restoration and renewal of churches, especially their interiors. After the early years of the Restoration, pure Neoclassicism became more a style of the past. The work of many artists began to reveal trends towards the Romantic art which would follow a few years later. By the late 1830s, it could clearly be seen that the era of Milanese Neoclassicism had now come to an end.