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    Jacques Louis David: 172 Paintings and Drawings
    Jacques Louis David: 172 Paintings and Drawings
    Jacques Louis David: 172 Paintings and Drawings
    Ebook181 pages42 minutes

    Jacques Louis David: 172 Paintings and Drawings

    By Narim Bender

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    About this ebook

    Jacques-Louis David (1748 – 1825) was an influential French painter in the Neoclassical style, considered to be the pre-eminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, heightened feeling chiming with the moral climate of the final years of the Ancien Régime. He later became an active supporter of the French Revolution and friend of Maximilien Robespierre, and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release, that of Napoleon I. It was at this time that he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from power and the Bourbon revival, David exiled himself to Brussels in the then-United Kingdom of the Netherlands where he remained until his death. David had a huge number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.
    LanguageEnglish
    PublisherNarim Bender
    Release dateApr 21, 2015
    ISBN9786050373806
    Jacques Louis David: 172 Paintings and Drawings

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      Book preview

      Jacques Louis David - Narim Bender

      Drawings

      Foreword

      Jacques-Louis David (1748 – 1825) was an influential French painter in the Neoclassical style, considered to be the pre-eminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, heightened feeling chiming with the moral climate of the final years of the Ancien Régime. He later became an active supporter of the French Revolution and friend of Maximilien Robespierre, and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release, that of Napoleon I. It was at this time that he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from power and the Bourbon revival, David exiled himself to Brussels in the then-United Kingdom of the Netherlands where he remained until his death. David had a huge number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.

      He had his first training with Boucher, a distant relative, but Boucher realized that their temperaments were opposed and sent David to Vien. David went to Italy with the latter in 1776, Vien having been appointed director of the French Academy at Rome, David having won the Prix de Rome. In Italy David was able to indulge his bent for the antique and came into contact with the initiators of the new classical revival, including Gavin Hamilton. In 1780 he returned to Paris, and in the 1780s his position was firmly established as the embodiment of the social and moral reaction from the frivolity of the Rococo. His uncompromising subordination of colour to drawing and his economy of statement were in keeping with the new severity of taste. His themes gave expression to the new cult of the civic virtues of stoical self-sacrifice, devotion to duty, honesty, and austerity. Seldom have paintings so completely typified the sentiment of an age as David's The Oath of the Horatii (Louvre, Paris, 1784), Brutus and his Dead Sons (Louvre, 1789), and The Death of Socrates (Metropolitan Museum, New York, 1787). They were received with acclamation by critics and public alike. Reynolds compared the Socrates with Michelangelo's Sistine Ceiling and Raphael's Stanze, and after ten visits to the Salon described it as 'in every sense perfect'.

      David was in active sympathy with the Revolution; he served on various committees and voted for the execution of Louis XVI. His position was unchallenged as the painter of the Revolution. His three paintings of 'martyrs of the Revolution', though conceived as portraits, raised portraiture into the domain of universal tragedy. They were: The Death of Lepeletier (now known only from an engraving), The Death of Marat (Musеes Royaux, Brussels, 1793), and The Death of Bora (Musеe Calvet, Avignon, unfinished). After the fall of his friend Robespierre (1794), however, he was imprisoned, but was released on the plea of his wife, who had previously divorced him because of his Revolutionary sympathies (she was a royalist).

      They were remarried in 1796, and David's Intervention of the Sabine Women (Louvre, 1794-99), begun while he was in prison, is said to have been painted to honour her, its theme being one of love prevailing over conflict. It was also interpreted at the time, however, as a plea for conciliation in the civil strife that France suffered after the Revolution and it was the work that re-established David's fortunes and brought him to the

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