jacques-louis david
jacques-louis david
jacques-louis david images
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(1744-1825)
see also: neo-classical art
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"jacques-louis david, french painter. he was a supporter of the french revolution and one of the leading figures of neoclassicism. he was a distant relative of boucher, who perhaps helped his early artistic progress as a pupil under vien (1765). he won the prix de rome in 1774 and travelled with his master to rome where he spent six years. it was during this period (1775-81), that he abandoned the grand manner of his early work, with its baroque use of lighting and composition for a stark, highly finished and morally didactic style. this was influenced by the ideas then current in rome (winckelmann) and by artists such as hamilton who were already experimenting with a neoclassical idiom. in 1784 the change of style was confirmed by the oath of the horatii (paris, louvre), probably the most famous and certainly the most severe of a series of works which extolled the antique virtues of stoicism, masculinity and patriotism. during the french revolution, david played an active role both artistically he reorganized the académe and produced numerous and spectacular propaganda exercises - and politically, as an avid supporter of robespierre, who voted for the execution of the king. he also attempted to catalogue the new heroes of the age, abortively in the oath of the tennis court, and successfully in his pieta-like portrayal of the death of marat (1793, brussels, musée royaux). he eventually lost out in the confused politics of the 1790s, was imprisoned under the moderate directory and saved by the intervention of his estranged wife, symbolized in his intervention of the sabine women (1799, paris, louvre), a work which strained his classicism in the search for greek purity. in 1799 napoleon gained power, and david gained a new hero. he recorded the general and later the emperor in numerous propaganda pieces (e.g. napoleon at mont st bernard, 1800, versailles; the crowning of josephine) in which his sobriety was loosened by napoleon's demand for grandeur. in professional terms, he failed to survive the fall of his master, and in 1815 retired in exile to brussels, where he continued to work in a highly finished classical vein, but resorted to myth for his subject-matter (e.g. the disarming of mars). throughout his career he produced portraiture which not only catalogued the changing political spectrum, but also his own artistic developments (e.g. antoine lavoisier and his wife, 1788, new york, metropolitan museum). he was also a great teacher, numbering among his pupils gros, ingres, gerard and girodet, although few of them actually followed the severity of his style."
- from "the bulfinch guide to art history"
further reading on jacques-louis david:
david (art and ideas), by simon lee
jacques-louis david, by dorothy johnson.
jacques-louis david (masters of art series), by luc de nanteuil.
necklines: the art of jacques-louis david after the terror, by ewa lajer-burcharth.
jacques-louis david's marat (masterpieces of western painting), by william vaughan.
jacques-louis david and jean-louis prieur, revolutionary artists: the public, the populace, and images of the french revolution, by warren roberts.
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jacques-louis david images
1780-81
count potocki
1783
andromache mourning hector
1783
alphonse leroy
1784
the oath of the horatii
1787
the death of socrates
1788
monsieur lavoisier and his wife
1788
paris and helen
1789
the lictors bring to brutus the bodies of his sons
1790
the marquise d'orvilliers
1793
death of marat
1794
self-portrait
1795
monsieur seriziat
1796-99
the sabine women
1798
bonaparte
1799
madame de verninac
1800
madame recamier
1806-07
consecration of the emperor napoleon i and coronation of the empress josephine in the cathedral of notre-dame de paris on 2 dec 1804
1806-07
detail of above
1810
countess daru
1811
count francais de nantes
1812
napoleon in his study
1816
general gerard
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