Jacques-Louis David
Jacques-Louis David | |
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Marc Guillaume Alexis Vadier | |
Personal details | |
Born | Paris, Kingdom of France | 30 August 1748
Died | 29 December 1825 Brussels, United Kingdom of the Netherlands | (aged 77)
Political party | The Mountain |
Spouses | Marguerite Charlotte Pécoul (m. 1782; div. 1793)
(m. 1796) |
Alma mater | Collège des Quatre-Nations, University of Paris |
Known for |
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Awards |
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Movement | Neoclassicism |
Signature | |
Jacques-Louis David (French:
David later became an active supporter of the
Early life
![](http://upload.wikimedia.org/wikipedia/commons/thumb/6/6a/VienDavid.jpg/220px-VienDavid.jpg)
Jacques-Louis David was born into a prosperous
![](http://upload.wikimedia.org/wikipedia/commons/thumb/c/c7/Mademoiselle_Guimard_as_Terpsichore%2C_by_Jacques-Louis_David.jpg/170px-Mademoiselle_Guimard_as_Terpsichore%2C_by_Jacques-Louis_David.jpg)
Each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a 3- to 5-year stay in Rome. Since artists were now revisiting classical styles, the trip provided its winners the opportunity to study the remains of classical antiquity and the works of the Italian Renaissance masters at first hand. Called pensionnaire they were housed in the French Academy's Rome outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David made three consecutive attempts to win the annual prize, (with Minerva Fighting Mars, Diana and Apollo Killing Niobe's Children and The Death of Seneca) with each failure allegedly contributing to his lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, which lasted two and a half days before the faculty encouraged him to continue painting. Confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, David was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus' Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, who had just been appointed director of the French Academy at Rome.[2]
While in Italy, David mostly studied the works of 17th-century masters such as
Early work
Although David's fellow students at the academy found him difficult to get along with, they recognized his genius. David's stay at the French Academy in Rome was extended by a year. In July 1780, he returned to Paris.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/220px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg)
In Rome, David painted his famous
These revolutionary ideals are also apparent in the
![](http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/David_-_The_Death_of_Socrates.jpg/220px-David_-_The_Death_of_Socrates.jpg)
In 1787, David did not become the Director of the French Academy in Rome, which was a position he wanted dearly. The Count in charge of the appointments said David was too young, but said he would support him in 6 to 12 years. This situation would be one of many that would cause him to lash out at the Academy in years to come.
For the Salon of 1787, David exhibited his famous Death of Socrates. "Condemned to death, Socrates, strong, calm and at peace, discusses the immortality of the soul. Surrounded by Crito, his grieving friends and students, he is teaching, philosophizing, and in fact, thanking the God of Health, Asclepius, for the hemlock brew which will ensure a peaceful death... The wife of Socrates can be seen grieving alone outside the chamber, dismissed for her weakness. Plato is depicted as an old man seated at the end of the bed." Critics compared the Socrates with Michelangelo's Sistine Ceiling and Raphael's Stanze, and one, after ten visits to the Salon, described it as "in every sense perfect". Denis Diderot said it looked as if he copied it from some ancient bas-relief. The painting was very much in tune with the political climate at the time. For this painting, David was not honored by a royal "works of encouragement".
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/David_Brutus.jpg/220px-David_Brutus.jpg)
For his next painting, David created
The French Revolution
In the beginning, David was a supporter of the Revolution, a friend of
Others believed that they found the key to the artist's revolutionary career in his personality. Undoubtedly, David's artistic sensibility, mercurial temperament, volatile emotions, ardent enthusiasm, and fierce independence might have been expected to help turn him against the established order but they did not fully explain his devotion to the republican regime. Nor did the vague statements of those who insisted upon his "powerful ambition...and unusual energy of will" actually account for his revolutionary connections. Those who knew him maintained that "generous ardor", high-minded idealism and well-meaning though sometimes fanatical enthusiasm, rather than opportunism and jealousy, motivated his activities during this period.
Soon, David turned his critical sights on the Royal Academy of Painting and Sculpture. This attack was probably caused primarily by the hypocrisy of the organization and their personal opposition to his work, as seen in previous episodes in David's life. The Royal Academy was controlled by royalists, who opposed David's attempts at reform; so the National Assembly finally ordered it to make changes to conform to the new constitution.
David then began work on something that would later hound him: propaganda for the new republic. David's painting of Brutus was shown during the play Brutus by Voltaire.
In 1789, Jacques-Louis David attempted to leave his artistic mark on the historical beginnings of the French Revolution with his painting of
This instance is notable in more ways than one because it eventually led David to finally become involved in politics as he joined the Jacobins. The picture was meant to be massive in scale; the figures in the foreground were to be life-sized portraits of the counterparts, including
David set out in 1790 to transform the contemporary event into a major historical picture which would appear at the Salon of 1791 as a large pen-and-ink drawing. As in the Oath of the Horatii, David represents the unity of men in the service of a patriotic ideal. The outstretched arms which are prominent in both works betray David's deeply held belief that acts of republican virtue akin to those of the Romans were being played out in France. In what was essentially an act of intellect and reason, David creates an air of drama in this work. The very power of the people appears to be "blowing" through the scene with the stormy weather, in a sense alluding to the storm that would be the revolution.
Symbolism in this work of art closely represents the revolutionary events taking place at the time. The figure in the middle is raising his right arm making the oath that they will never disband until they have reached their goal of creating a "constitution of the realm fixed upon solid foundations".[10] The importance of this symbol is highlighted by the fact that the crowd's arms are angled to his hand forming a triangular shape. Additionally, the open space in the top half contrasted to the commotion in the lower half serves to emphasize the magnitude of the Tennis Court Oath.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Le_Serment_du_Jeu_de_paume.jpg/220px-Le_Serment_du_Jeu_de_paume.jpg)
In his attempt to depict political events of the Revolution in "real time", David was venturing down a new and untrodden path in the art world. However, Thomas Crow argues that this path "proved to be less a way forward than a cul-de-sac for history painting".[9] Essentially, the history of the demise of David's The Tennis Court Oath illustrates the difficulty of creating works of art that portray current and controversial political occurrences. Political circumstances in France proved too volatile to allow the completion of the painting. The unity that was to be symbolized in The Tennis Court Oath no longer existed in radicalized 1792. The National Assembly had split between conservatives and radical Jacobins, both vying for political power. By 1792 there was no longer consensus that all the revolutionaries at the tennis court were "heroes". A sizeable number of the heroes of 1789 had become the villains of 1792. In this unstable political climate David's work remained unfinished. With only a few nude figures sketched onto the massive canvas, David abandoned The Oath of the Tennis Court. To have completed it would have been politically unsound. After this incident, when David attempted to make a political statement in his paintings, he returned to the less politically charged use of metaphor to convey his message.
When Voltaire died in 1778, the church denied him a church burial, and his body was interred near a monastery. A year later, Voltaire's old friends began a campaign to have his body buried in the
David incorporated many revolutionary symbols into these theatrical performances and orchestrated ceremonial rituals, in effect radicalizing the applied arts themselves. The most popular symbol for which David was responsible as propaganda minister was drawn from classical Greek images; changing and transforming them with contemporary politics. In an elaborate festival held on the anniversary of the revolt that brought the monarchy to its knees, David's Hercules figure was revealed in a procession following the Goddess of Liberty (Marianne). Liberty, the symbol of Enlightenment ideals was here being overturned by the Hercules symbol; that of strength and passion for the protection of the Republic against disunity and factionalism.[11] In his speech during the procession, David "explicitly emphasized the opposition between people and monarchy; Hercules was chosen, after all, to make this opposition more evident".[12] The ideals that David linked to his Hercules single-handedly transformed the figure from a sign of the old regime into a powerful new symbol of revolution. "David turned him into the representation of a collective, popular power. He took one of the favorite signs of monarchy and reproduced, elevated, and monumentalized it into the sign of its opposite."[13]
In June 1791, the King made an ill-fated attempt to flee the country, but was apprehended short of his goal on the Austrian Netherlands border and was forced to return under guard to Paris. Louis XVI had made secret requests to Emperor Leopold II of Austria, Marie-Antoinette's brother, to restore him to his throne. This was granted and Austria threatened France if the royal couple were hurt. In reaction, the people arrested the King. This led to an Invasion after the trials and execution of Louis and Marie-Antoinette. The Bourbon monarchy was destroyed by the French people in 1792—it would be restored after Napoleon, then destroyed again with the Restoration of the House of Bonaparte. When the new National Convention held its first meeting, David was sitting with his friends Jean-Paul Marat and Robespierre. In the convention, David soon earned the nickname "ferocious terrorist". Robespierre's agents discovered a secret vault containing the King's correspondence which proved he was trying to overthrow the government, and demanded his execution. The National Convention held the trial of Louis XVI; David voted for the death of the King, causing his wife, Marguerite Charlotte, a royalist, to divorce him.[citation needed]
When Louis XVI was executed on 21 January 1793, another man had already died as well—
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Jacques-Louis_David_-_Marat_assassinated_-_Google_Art_Project_2.jpg/220px-Jacques-Louis_David_-_Marat_assassinated_-_Google_Art_Project_2.jpg)
On 13 July 1793, David's friend Marat was assassinated by Charlotte Corday with a knife she had hidden in her clothing. She gained entrance to Marat's house on the pretense of presenting him a list of people who should be executed as enemies of France. Marat thanked her and said that they would be guillotined next week upon which Corday immediately fatally stabbed him. She was guillotined shortly thereafter. Corday was of an opposing political party, whose name can be seen in the note Marat holds in David's subsequent painting, The Death of Marat. Marat, a member of the National Convention and a journalist, had a skin disease that caused him to itch horribly. The only relief he could get was in his bath over which he improvised a desk to write his list of suspect counter-revolutionaries who were to be quickly tried and, if convicted, guillotined. David once again organized a spectacular funeral, and Marat was buried in the Panthéon. Marat's body was to be placed upon a Roman bed, his wound displayed and his right arm extended holding the pen which he had used to defend the Republic and its people. This concept was to be complicated by the fact that the corpse had begun to putrefy. Marat's body had to be periodically sprinkled with water and vinegar as the public crowded to see his corpse prior to the funeral on 15 and 16 July. The stench became so bad however that the funeral had to be brought forward to the evening of 16 July.[14]
The Death of Marat, perhaps David's most famous painting, has been called the Pietà of the revolution. Upon presenting the painting to the convention, he said "Citizens, the people were again calling for their friend; their desolate voice was heard: David, take up your brushes..., avenge Marat... I heard the voice of the people. I obeyed."
The Death of Marat, 1793, became the leading image of the Terror and immortalized both Marat and David in the world of the revolution. This piece stands today as "a moving testimony to what can be achieved when an artist's political convictions are directly manifested in his work".[15] A political martyr was instantly created as David portrayed Marat with all the marks of the real murder, in a fashion which greatly resembles that of Christ or his disciples.[16] The subject although realistically depicted remains lifeless in a rather supernatural composition. With the surrogate tombstone placed in front of him and the almost holy light cast upon the whole scene; alluding to an out of this world existence. "Atheists though they were, David and Marat, like so many other fervent social reformers of the modern world, seem to have created a new kind of religion."[17] At the very center of these beliefs, there stood the republic.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/8/83/Jacques-Louis_David_-_Marie_Antoinette_on_the_Way_to_the_Guillotine.jpg/170px-Jacques-Louis_David_-_Marie_Antoinette_on_the_Way_to_the_Guillotine.jpg)
After the King's execution, war broke out between the new Republic and virtually every major power in Europe. David, as a member of the
Soon, the war began to go well; French troops marched across the southern half of the Netherlands (which would later become Belgium), and the emergency that had placed the Committee of Public Safety in control was no more. Then plotters
Post-revolution
![](http://upload.wikimedia.org/wikipedia/commons/thumb/0/0f/F0440_Louvre_JL_David_Sabines_INV3691_rwk.jpg/220px-F0440_Louvre_JL_David_Sabines_INV3691_rwk.jpg)
After David's wife visited him in jail, he conceived the idea of telling the story of
David conceived a new style for this painting, one which he called the "Pure Greek Style", as opposed to the "Roman style" of his earlier historical paintings. The new style was influenced heavily by the work of art historian Johann Joachim Winckelmann. In David's words, "the most prominent general characteristics of the Greek masterpieces are a noble simplicity and silent greatness in pose as well as in expression."[21] Instead of the muscularity and angularity of the figures of his past works, these were smoother, more feminine, and painterly.
This work also brought him to the attention of Napoleon. The story for the painting is as follows: "The Romans have abducted the daughters of their neighbors, the Sabines. To avenge this abduction, the Sabines attacked Rome, although not immediately—since Hersilia, the daughter of Tatius, the leader of the Sabines, had been married to Romulus, the Roman leader, and then had two children by him in the interim. Here we see Hersilia between her father and husband as she adjures the warriors on both sides not to take wives away from their husbands or mothers away from their children. The other Sabine Women join in her exhortations."
During this time, the martyrs of the Revolution were taken from the Pantheon and buried in common ground, and revolutionary statues were destroyed. When David was finally released to the country, France had changed. His wife managed to get him released from prison, and he wrote letters to his former wife, and told her he never ceased loving her. He remarried her in 1796. Finally, wholly restored to his position, he retreated to his studio, took pupils and for the most part, retired from politics.
In August 1796, David and many other artists signed a petition orchestrated by Quatremère de Quincy which questioned the wisdom of the planned seizure of works of art from Rome. The Director Barras believed that David was "tricked" into signing, although one of David's students recalled that in 1798 his master lamented the fact that masterpieces had been imported from Italy.
Napoleon
David's close association with the Committee of Public Safety during the Terror resulted in his signing of the death warrant for
![](http://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Bodleian_Libraries%2C_Le_peintre_d%27histoire_encourag%C3%A9_par_le_gouvt.jpg/220px-Bodleian_Libraries%2C_Le_peintre_d%27histoire_encourag%C3%A9_par_le_gouvt.jpg)
David had been an admirer of Napoleon from their first meeting, struck by Bonaparte's classical features. Requesting a sitting from the busy and impatient general, David was able to sketch Napoleon in 1797. David recorded the face of the conqueror of Italy, but the full composition of Napoleon holding the peace treaty with Austria remains unfinished. This was likely a decision by Napoleon himself after considering the current political situation. He may have considered the publicity the portrait would bring about to be ill-timed. Bonaparte had high esteem for David, and asked him to accompany him to
After Napoleon's
![](http://upload.wikimedia.org/wikipedia/commons/thumb/1/1e/Jacques-Louis_David_-_The_Coronation_of_Napoleon_%281805-1807%29.jpg/220px-Jacques-Louis_David_-_The_Coronation_of_Napoleon_%281805-1807%29.jpg)
One of the works David was commissioned for was
David was made a Chevalier de la Légion d'honneur in 1803. He was promoted to an Officier in 1808. And, in 1815, he was promoted to a Commandant (now Commandeur) de la Légion d'honneur.
Exile and death
![](http://upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Francois-Joseph_Navez-Louis_David_mg_3031.jpg/220px-Francois-Joseph_Navez-Louis_David_mg_3031.jpg)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Jaques-louis_david_comte.tif/lossy-page1-220px-Jaques-louis_david_comte.tif.jpg)
On the
The newly restored Bourbon King, Louis XVIII, however, granted amnesty to David and even offered him the position of court painter. David refused, preferring self-exile in Brussels. There, he trained and influenced Brussels artists such as François-Joseph Navez and Ignace Brice, painted Cupid and Psyche and quietly lived the remainder of his life with his wife (whom he had remarried). In that time, he painted smaller-scale mythological scenes, and portraits of citizens of Brussels and Napoleonic émigrés, such as the Baron Gerard.
David created his last great work, Mars Being Disarmed by Venus and the Three Graces, from 1822 to 1824. In December 1823, he wrote: "This is the last picture I want to paint, but I want to surpass myself in it. I will put the date of my seventy-five years on it and afterwards I will never again pick up my brush." The finished painting—evoking painted porcelain because of its limpid coloration—was exhibited first in Brussels, then in Paris, where his former students flocked to view it.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Jacques-Louis_David_-_Mars_d%C3%A9sarm%C3%A9_par_V%C3%A9nus.jpg/220px-Jacques-Louis_David_-_Mars_d%C3%A9sarm%C3%A9_par_V%C3%A9nus.jpg)
The exhibition was profitable—13,000 francs, after deducting operating costs, thus, more than 10,000 people visited and viewed the painting. In his later years, David remained in full command of his artistic faculties, even after a stroke in the spring of 1825 disfigured his face and slurred his speech. In June 1825, he resolved to embark on an improved version of his The Anger of Achilles (also known as the Sacrifice of Iphigenie); the earlier version was completed in 1819 and is now in the collection of the Kimbell Art Museum in Fort Worth, Texas. David remarked to his friends who visited his studio "this [painting] is what is killing me" such was his determination to complete the work, but by October it must have already been well advanced, as his former pupil Gros wrote to congratulate him, having heard reports of the painting's merits. By the time David died, the painting had been completed and the commissioner Ambroise Firmin-Didot brought it back to Paris to include it in the exhibition "Pour les grecs" that he had organised and which opened in Paris in April 1826.
When David was leaving a theater, the driver of a carriage struck him, and he later died, on 29 December 1825. At his death, some portraits were auctioned in Paris, they sold for little; the famous Death of Marat was exhibited in a secluded room, to avoid outraging public sensibilities. Disallowed return to France for burial, for having been a regicide of King Louis XVI, the body of the painter Jacques-Louis David was buried in Brussels and moved in 1882 to Brussels Cemetery, while some say his heart was buried with his wife at Père Lachaise Cemetery, Paris.
Freemasonry
The theme of the oath found in several works such as The Oath of the Tennis Court, The Distribution of the Eagles, and Leonidas at Thermopylae, was perhaps inspired by the rituals of Freemasonry. In 1989 during the "David against David" conference Albert Boime presented evidence, a document dated in 1787, showing the painter's membership in the "La Moderation" Masonic Lodge.[23][24]
Medical analysis of David's face
Jacques-Louis David's facial abnormalities were traditionally reported to be a consequence of a deep facial sword wound after a fencing incident. These left him with a noticeable asymmetry during facial expression and resulted in his difficulty in eating or speaking. (He could not pronounce some consonants such as the letter 'r'.) A sword scar wound on the left side of his face is present in his self-portrait and sculptures and corresponds to some of the buccal branches of the facial nerve. An injury to this nerve and its branches are likely to have resulted in the difficulties with his left facial movement.
Furthermore, as a result of this injury, he suffered from a growth on his face that biographers and art historians have defined as a benign tumor. These, however, may have been a granuloma, or even a post-traumatic neuroma.[25] As historian Simon Schama has pointed out, witty banter and public speaking ability were key aspects of the social culture of 18th-century France, so David's tumor could have been a heavy obstacle in his social life.[26] David was sometimes referred to as "David of the Tumor".[27]
Portraiture
In addition to his history paintings, David completed a number of privately commissioned portraits. Warren Roberts, among others, has pointed out the contrast between David's "public style" of painting, as shown in his history paintings, and his "private style", as shown in his portraits.[28] His portraits were characterized by a sense of truth and realism. He focused on defining his subjects' features and characters without idealizing them.[29][page needed] This is different from the style seen in his historical paintings, in which he idealizes his figures' features and bodies to align with Greek and Roman ideals of beauty.[30] He puts a great deal of detail into his portraits, defining smaller features such as hands and fabric. The compositions of his portraits remain simple with blank backgrounds that allow the viewer to focus on the details of the subject.
The portrait he did of
![](http://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Emmanuel_Joseph_Siey%C3%A8s%2C_by_Jacques_Louis_David.jpg/170px-Emmanuel_Joseph_Siey%C3%A8s%2C_by_Jacques_Louis_David.jpg)
In the painting of Brutus (1789), the man and his wife are separated, both morally and physically. Paintings such as these, depicting the great strength of patriotic sacrifice, made David a popular hero of the revolution.[28]
In the
Other portraits include paintings of his sister-in-law and her husband, Madame and Monsieur Seriziat. The picture of Monsieur Seriziat depicts a man of wealth, sitting comfortably with his horse-riding equipment. The picture of the Madame shows her wearing an unadorned white dress, holding her young child's hand as they lean against a bed. David painted these portraits of Madame and Monsieur Seriziat out of gratitude for letting him stay with them after he was in jail.[32]
Towards the end of David's life, he painted a portrait of his old friend Abbé Sieyès. Both had been involved in the Revolution, both had survived the purging of political radicals that followed the reign of terror.
Shift in attitude
The shift in David's perspective played an important role in the paintings of David's later life, including this one of Sieyès.[33] During the height of The Terror, David was an ardent supporter of radicals such as Robespierre and Marat, and twice offered up his life in their defense. He organized revolutionary festivals and painted portraits of martyrs of the revolution, such as Lepeletier, who was assassinated for voting for the death of the king. David was an impassioned speaker at times in the National Assembly. In speaking to the Assembly about the young boy named Bara, another martyr of the revolution, David said, "O Bara! O Viala! The blood that you have spread still smokes; it rises toward Heaven and cries for vengeance."[34]
After Robespierre was sent to the guillotine, however, David was imprisoned and changed the attitude of his rhetoric. During his imprisonment he wrote many letters, pleading his innocence. In one he wrote, "I am prevented from returning to my atelier, which, alas, I should never have left. I believed that in accepting the most honorable position, but very difficult to fill, that of legislator, that a righteous heart would suffice, but I lacked the second quality, understanding."[35]
Later, while explaining his developing "Grecian style" for paintings such as The Intervention of the Sabine Women, David further commented on a shift in attitude: "In all human activity the violent and transitory develops first; repose and profundity appear last. The recognition of these latter qualities requires time; only great masters have them, while their pupils have access only to violent passions."[36]
Legacy
Jacques-Louis David was, in his time, regarded as the leading painter in France, and arguably all of Western Europe; many of the painters honored by the restored Bourbons following the French Revolution had been David's pupils.
Despite David's reputation, he was more fiercely criticized right after his death than at any point during his life. His style came under the most serious criticism for being static, rigid, and uniform throughout all his work. David's art was also attacked for being cold and lacking warmth.
In the last 50 years David has enjoyed a revival in popular favor and in 1948 his two-hundredth birthday was celebrated with an exhibition at the Musée de l'Orangerie in Paris and at Versailles showing his life's works.[44] Following World War II, Jacques-Louis David was increasingly regarded as a symbol of French national pride and identity, as well as a vital force in the development of European and French art in the modern era.[45] The birth of Romanticism is traditionally credited to the paintings of eighteenth-century French artists such as Jacques-Louis David.[46]
There are streets named after David in the French cities of Carcassonne and Montpellier.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/d/db/David%27s_Leonidas_and_Thermoplyae.jpg/393px-David%27s_Leonidas_and_Thermoplyae.jpg)
Filmography
Danton (Andrzej Wajda, France, 1982) – Historical drama. Many scenes include David as a silent character watching and drawing. The film focuses on the period of the Terror.
Gallery
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Diana and Apollo Piercing Niobe's Children with their Arrows (1772), Dallas Museum of Art
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Antiochus and Stratonica (1774),École nationale supérieure des Beaux-Arts
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Patroclus, study (1780), Musée Thomas-Henry
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Hector's body (1778)
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Portrait of Antoine-Laurent Lavoisier and his wife (1788), Metropolitan Museum of Art, New York
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Musée du Louvre, Paris (detail)
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Portrait of Anne-Marie-Louise Thélusson, Comtesse de Sorcy (1790), Neue Pinakothek, Munich
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Louvre Museum
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Portrait of Madame de Verninac (1798–1799), bornMusée du Louvre, Paris
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Musée du Louvre, Paris
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Suzanne Le Peletier de Saint-Fargeau (1804), The J. Paul Getty Museum
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Musée du Louvre, Paris
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Marguerite-Charlotte David (1813), National Gallery of Art, Washington, D.C.
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Étienne-Maurice Gérard (1816), Metropolitan Museum of Art, New York
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The ComtesseNational Gallery, London
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Portrait of the Comte de Turenne (1816), Ny Carlsberg Glyptotek, Copenhagen
See also
- Legacy and memory of Napoleon
- Neoclassicism in France
References
- ^ Matthew Collings. "Feelings". This Is Civilisation. Season 1. Episode 2. 2007.
- ^ a b c d e f Lee, Simon. "David, Jacques-Louis." Grove Art Online. Oxford Art Online. 14 November 2014.<http://www.oxfordartonline.com/subscriber/article/grove/art/T021541>.
- ^ Alex Potts, Flesh and the Ideal: Winckelmann and the Origins of Art History (New Haven: Yale University Press, 2000).
- ^ Boime 1987, p. 394.
- ^ Boime 1987, p. 399.
- ^ Boime 1987, p. 398.
- ^ Honour 1977, p. 72.
- ISBN 0791442888.
- ^ a b Crow 2007.
- ^ Bordes 2005, p. ??.
- ^ Hunt 2004, p. 97.
- ^ Hunt 2004, p. 99.
- ^ Hunt 2004, p. 103.
- ^ Schama 1989, p. 83.
- ^ Boime 1987, p. 454.
- ^ Rosenblum 1969, p. 83.
- ^ Janson & Rosenblum 1984, p. 30.
- ^ Boime 1987, p. 442.
- ^ Carlyle, p. 384.
- ^ Roberts 1992, pp. 90–112.
- ^ Roberts 1992, pp. 90–115.
- ^ Bordes 2005, pp. 26-28.
- ISBN 9782110026132.
- ISBN 978-2749129518.
- ^ Ashrafian, H. Jacques-Louis David and his post-traumatic facial pathology. J R Soc Med 2007;100:341-342.
- ^ Schama, Simon. The Power of Art: Jacques-Louis David. https://www.bbc.co.uk/arts/powerofart/david.shtml
- ^ Roberts 1992, pp. 1–30.
- ^ a b c d Roberts 1992, pp. 42–45.
- ^ a b Bordes 2005.
- ^ Wilson, Elizabeth Barkley. "Jacques-Louis David." Smithsonian 29, no. 5 (August 1998): 80. Academic Search Complete, EBSCOhost (accessed 18 November 2017).
- ^ Roberts 1992, pp. 43–45.
- ^ Lajer-Burcharth, Ewa. “Necklines: The Art of Jacques-Louis David After the Terror.” New Haven: Yale University Press, 1999.
- ^ Roberts 1992, pp. 90–150.
- ^ Roberts 1992, pp. 88–92.
- ^ Roberts 1992, pp. 90–94.
- ^ Roberts 1992, pp. 100–112.
- ^ a b c Lee, Simon. David. p. 321.
- ^ a b Lee, Simon. David. pp. 321–322.
- ^ "Winckel, Therese aus dem - Sophie Drinker Institut". www.sophie-drinker-institut.de. Retrieved 14 February 2022.
- S2CID 220318250.
- ^ Lee, Simon. David. p. 322.
- ^ Roberts 1992, p. 14.
- ^ Lee, Simon. David. p. 151.
- ^ Lee, Simon. David. p. 326.
- ^ Lee, Simon. David. p. 328.
- ^ Lee Palmer, Allison. Historical Dictionary of Romantic Art and Architecture. p. 304.
- ^ Sloane, J. C., Wisdom, J. M., & William Hayes Ackland Memorial Art Center. 1978. French Nineteenth Century Oil Sketches: David to Degas. Chapel Hill, N.C: The University. p. 50
Sources
- ISBN 0-226-06332-1
- ISBN 2-85025-173-9
- Bordes, Philippe (2005), Jacques-Louis David: From Empire to Exile, New Haven, Connecticut: ISBN 978-0300104479, retrieved 23 February 2020
- Brookner, Anita, Jacques-Louis David, Chatto & Windus (1980)
- OCLC 14208955.
- Chodorow, Stanley, et al. The Mainstream of Civilization. New York: The Harcourt Press (1994) pg. 594
- ISBN 0-300-06093-9
- Crow, Thomas E. (2007), "Patriotism and Virtue: David to the Young Ingres", in ISBN 978-0-500-28683-8
- Delécluze, E., Louis David, son école et son temps, Paris, (1855) re-edition Macula (1983)
- Dowd, David, Pageant-Master of the Republic, Lincoln, University of Nebraska Press, (1948)
- ISBN 0-14-013760-2
- Humbert, Agnès, Louis David, peintre et conventionnel: essai de critique marxiste, Paris, Editions sociales internationales (1936)
- Humbert, Agnès, Louis David, collection des Maîtres, 60 illustrations, Paris, Braun (1940)
- ISBN 0-520-24156-8
- ISBN 0-13-622621-3
- Johnson, Dorothy, Jacques-Louis David. New Perspectives, Newark (2006)
- Lajer-Burcharth, Ewa, Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London (1999)
- Lee, Simon, David, Phaidon, London (1999). ISBN 0714838047
- Lévêque, Jean-Jacques, Jacques-Louis David édition Acr Paris (1989)
- Leymarie, Jean, French Painting, the 19th century, Cleveland (1962)
- Lindsay, Jack, Death of the Hero, London, Studio Books (1960)
- Malvone, Laura, L'Évènement politique en peinture. A propos du Marat de David in Mélanges de l'École française de Rome, Italie et Méditerranée 106, 1 (1994)
- Michel, R. (ed), David contre David, actes du colloque au Louvre du 6-10 décembre 1989, Paris (1993)
- Monneret, Sophie Monneret, David et le néoclassicisme, ed. Terrail, Paris (1998)
- Noël, Bernard, David, éd. Flammarion, Paris (1989)
- Rosenblum, Robert (1969), Transformations in Late Eighteenth Century Art (1st paperback ed.), Princeton, New Jersey: ISBN 0-691-00302-5
- Roberts, Warren (1 February 1992), Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution, The ISBN 0-8078-4350-4
- Rosenberg, Pierre, Prat, Louis-Antoine, Jacques-Louis David 1748-1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan (2002)
- Rosenberg, Pierre, Peronnet, Benjamin, Un album inédit de David in Revue de l'art, n°142 (2003–04), pp. 45–83 (complete the previous reference)
- Sahut, Marie-Catherine & Michel, Régis, David, l'art et le politique, coll. "Découvertes Gallimard" (nº 46), série Peinture. Éditions Gallimard et RMN Paris (1988)
- Sainte-Fare Garnot, N., Jacques-Louis David 1748-1825, Paris, Ed. Chaudun (2005)
- Schama, Simon (1989). Citizens: A Chronicle of the French Revolution. Penguin Books.
- Schnapper, Antoine, David témoin de son temps, Office du Livre, Fribourg, (1980)
- Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris (1989)
- Vanden Berghe, Marc, Plesca, Ioana, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles (2004) / New Perspectives on David's Death of Marat, Brussels (2004) - online on www.art-chitecture.net/publications.php [1]
- Vanden Berghe, Marc, Plesca, Ioana, Lepelletier de Saint-Fargeau sur son lit de mort par Jacques-Louis David: saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels (2005) - online on www.art-chitecture.net/publications.php [2]
- Vaughan, William and Weston, Helen (eds),Jacques-Louis David's Marat, Cambridge (2000)
- The Death of Socrates. Retrieved 29 June 2005. New York Med.
- Jacques-Louis David, on An Abridged History of Europe. Retrieved 29 June 2005
- J.L. David Archived 6 August 2002 at the Wayback Machine on CGFA. Retrieved 29 June 2005
Further reading
- French painting 1774-1830: the Age of Revolution. New York; Detroit: The Metropolitan Museum of Art; The Detroit Institute of Arts. 1975. (see index)
External links
![](http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)
- A Closer Look at David's Consecration of Napoleon multimedia feature; Louvre museum official website
- The Intervention of the Sabines (Louvre museum)
- Web Gallery of Art
- www.jacqueslouisdavid.org 101 paintings by Jacques-Louis David
- Jacques-Louis David at Olga's Gallery
- Jacques-Louis David in the "History of Art" Archived 5 February 2007 at the Wayback Machine
- smARThistory: Death of Socrates Archived 2 June 2007 at the Wayback Machine
- Sterling and Francine Clark Art Institute 2005 exhibition, Jacques-Louis David: Empire to Exile Archived 16 June 2018 at the Wayback Machine
- The equestrian portrait of Stanislaw Kostka Potocki at the Wilanow Palace Museum