Delphi Complete Works of Jacques-Louis David (Illustrated) ( PDFDrive ) Flipbook PDF

Jacques-Louis David (1748-1825)

Contents The Highlights Erasistratus Discovering the Cause of Antiochus’ Disease Andromache Mourning Hector Oath of the Horatii The Death of Socrates The Lictors Bring to Brutus the Bodies of His Sons Sketch of ‘The Tennis Court Oath’ The Death of Marat Self Portrait of Jacques-Louis David Unfinished Portrait of General Bonaparte The Intervention of the Sabine Women Portrait of Madame Récamier Leonidas at Thermopylae Napoleon Crossing the Alps The Coronation of Napoleon The Emperor Napoleon in His Study at the Tuileries Portrait of Emmanuel Joseph Sieyès Mars Being Disarmed by Venus and the Three Graces The Paintings The Complete Paintings Alphabetical List of Paintings The Drawings List of Drawings The Biography Brief Biography: Jacques-Louis David The Delphi Classics Catalogue

Masters of Art Series Jacques-Louis David

By Delphi Classics, 2017

COPYRIGHT Masters of Art - Jacques-Louis David First published in the United Kingdom in 2017 by Delphi Classics. © Delphi Classics, 2017. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published. ISBN: 978 1 78656 514 3

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The Highlights

Jacques-Louis David was born to a family of the petty bourgeoisie in Paris on August 30, 1748, at the Quai de la Mégisserie, a road located in the 1st arrondissem*nt.

The Quai de la Mégisserie in c. 1840

David was baptised on 30 August 1748, the day of his birth, in the church of Saint-Germain-l’Auxerrois, Paris

David as a young man by Joseph-Denis Odevaere

The Highlights

In this section, a sample of David’s most celebrated works is provided, with concise introductions, special ‘detail’ reproductions and additional biographical images.

Erasistratus Discovering the Cause of Antiochus’ Disease

On 30 August 1748, Jacques-Louis David was born into a prosperous family in Paris. However, when he was nine years old, his father was killed in a duel and his mother decided to leave him in the charge of his wealthy architect uncles. He received an excellent education at the Collège des Quatre-Nations, University of Paris, though David was never to be a good student. Following a fencing contest, he suffered a facial injury that impeded his speech for the rest of his life. He was often preoccupied with drawing, neglecting his studies. He covered his notebooks with drawings and is reported to have said, “I was always hiding behind the instructor’s chair, drawing for the duration of the class”. In short time, he nurtured ambitions to become a painter, yet his uncles and mother wanted him to be an architect. Eventually, he overcame their opposition and secured a place under the tutelage of François Boucher (1703–1770), the leading painter of the time, who was also a distant relative. Boucher was a painter of the Rococo style — characterised by a more jocular, florid and graceful approach to the Baroque. Rococo art was ornate and employed light colours, asymmetrical designs, curves and prominent use of gold. Unlike the political Baroque, the Rococo utilised playful and witty themes. Nevertheless, tastes were changing and fashion was now giving way to a more classical style. Boucher decided to reassign David’s tutelage, sending him instead to his friend, Joseph-Marie Vien (1716–1809), a painter that embraced the classical reaction to Rococo. Under Vien’s guidance, David attended the Royal Academy, located in what is now the Louvre. David soon set his sights on winning the prestigious Prix de Rome, a prize awarded each year by the Academy, which would fund a three to five year stay in Rome, studying the Italian Renaissance masters at first hand. Each pensionnaire was lodged in the French Academy’s Roman outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David competed for, and failed to win, the prize for three consecutive years — contributing to the artist’s lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, lasting 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 fresh enthusiasm, only to fail to win the Prix de Rome again the following year, when he threatened to kill himself. 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 that was set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, recently appointed director of the French Academy at Rome. The winning entry, represented in the following plates, is a history painting inspired by an episode in Plutarch’s Lives, concerning the Greek court physician Erasistratus (c. 304–c. 250 BC), who served as royal physician under Seleucus I Nicator of Syria. Along with Herophilus, Erasistratus founded a school of anatomy in Alexandria, carrying out ground-breaking anatomical research. He is credited for his description of the valves of the heart and for concluding that the heart was not the centre of sensations, but instead functioned as a pump. Erasistratus was among the first to distinguish between veins and arteries. David’s canvas tells the story of a famous event that involved the physician while working at the court of Seleucus. In his old age, the ruler of Syria had married Stratonice, the young and beautiful daughter of Demetrius Poliorcetes, and she had already borne him a child. Antiochus, Seleucus’ son, was suffering from a mysterious malady. In fact, he had fallen desperately in love with his stepmother, but did not disclose his passion, choosing instead to pine away in silence. The physicians were unable to discover the cause of his illness and Erasistratus himself was at a loss at first, till, finding nothing amiss about his body, he began to suspect that it must be his mind that was affected. Erasistratus confirmed his conjecture when he observed that the skin of Antiochus grew hotter, his colour deeper and his pulse quicker whenever his mother-in-law came near him. Accordingly, Erasistratus told Seleucus that his son’s disease was incurable, for he was in love and that it was impossible to gratify his passion. The king wondered what the obstacle could be and asked who the lady was. “My wife,” replied Erasistratus, after which Seleucus began to persuade him to give her up to his son. The physician asked him if he would do so himself if it were his wife that the prince was in love with. The king protested that he would most gladly; then Erasistratus told him that it was indeed his own wife that had inspired his passion and that he chose rather to die than to disclose his secret. Seleucus was as good as his word, and not only gave up Stratonice, but also resigned to his son several provinces of his empire. David’s composition concerns the part of the story when Erasistratus diagnoses the illness as lovesickness for his stepmother Stratonice. We can

detect the influence of Rococo light palettes from the work of Boucher, while the dramatic postures of the figures hint at Vien’s emerging classical style. The detailed depiction of the ailing Antiochus’ torso and the elaborate folds of Erasistratus’ red garment demonstrate the young artist’s advanced technique. The composition is not marred by the extravagant contrasts in David’s earlier submissions for the competition; this time the canvas is composed in a linear, rather than angular structure. The space between the two main groups of characters is uncluttered and the groups are distinct from one another, allowing the viewer to focus on each in their own time. David’s arrangement of the confidants and servants is discreet and appropriate to the occasion, encouraging a sense of authenticity to the scene. The atmosphere is calm and noble, emphasised by the magnificent ornamentation and architecture worthy of an imperial palace. Yet, there is a prevailing sense of artificiality in the figures’ convoluted gestures, lacking the subtlety of the artist’s later works.

Detail

Portrait of François Boucher by Gustaf Lundberg, 1741 — David’s first great tutor

Joseph Marie Vien by Joseph Siffred Duplessis, 1784

‘Love Fleeing Slavery’ by Joseph-Marie Vien

David’s first attempt at winning the Prix de Rome— ‘The Combat of Mars and Athena’, 1771, Louvre

Andromache Mourning Hector

While in Italy, David especially studied the works of seventeenth century masters such as Poussin, Caravaggio and the Carracci. Arrogance would always be a prominent part of David’s personality, as shown by his declaration that “the Antique will not seduce me; it lacks animation; it does not move”. He doubted that the old masters would affect his work, though it is unquestionably true that his time in Italy would have a lasting impact on the direction of his art. From the close scrutiny of Caravaggio’s works, David learnt the importance of the contrast between light and dark— chiaroscuro — which could achieve incredible naturalism in a painting. By employing light and shadow, he learnt how to heighten the dramatic effect of a narrative. In Italy David filled twelve sketchbooks with drawings that he and his studio would use as model books for the rest of his career. He was introduced to the painter Raphael Mengs (1728–1779), who opposed the tendency in Rococo painting to sweeten and trivialise ancient subjects, advocating instead the rigorous study of classical sources and close adherence to ancient models. Mengs’ principled, historicising approach to the representation of classical subjects would profoundly influence David’s pre-revolutionary paintings. David also toured the newly excavated ruins of Pompeii, which deepened his belief that the persistence of classical culture was an index of its eternal conceptual and formal power. Eventually, his stay at the French Academy in Rome was extended by a year, finally returning to Paris in July 1780. Back in France, he discovered many acquaintances that were keen to employ their influence for him and he sent the Academy two paintings, which were included in the Salon of 1781 — a high honour. Andromache Mourning Hector (1783) was to be the artist’s next great success. It depicts a scene from Homer’s Iliad, showing Andromache, comforted by her son, mourning the death of her husband Hector, slain by Achilles outside the walls of Troy. The acutely observed details and bleak naturalism of the image contrast strikingly with anything that David had produced before. The canvas marked a departure from the dominant style of the Salon, causing much surprise. Hector’s corpse and the fine detail used to portray intricate muscles owe much to Caravaggio, as well as the dark — almost black — background above the figure, allowing the artist to explore the variations between light and dark for increased dramatic effect. The

light flooding Andromache’s face and the white folds of her clothing vividly represent the grief depicted on her face. The sombre shadows filling the rest of the canvas confirm the influence of Mengs, who favoured a more serious approach to classical subjects. Exhibited on 23 August 1783, Andromache Mourning Hector was an immediate success, winning the artist his election to the Académie Royale — the premier art institution in France in the eighteenth century. This meant that David’s work was guaranteed inclusion at the prestigious Salon, which occurred every two years and was the only public exhibition available at the time. Now, he numbered among the select few that would be chosen for commissions from important patrons, like the King. His position was finally secure for imminent success. He was praised by several prominent painters, although the administration of the Royal Academy was hostile to the ‘young upstart’.

Detail

Self portrait of Anton Raphael Mengs (1728-1779), a German Bohemian painter, active in Rome, Madrid and Saxony, who became one of the precursors to Neoclassical painting.

‘St. John the Baptist Preaching in the Wilderness’ by Anton Raphael Mengs, c. 1764

Oath of the Horatii

Following David’s election to the Salon, the King granted him lodging in the Louvre, an ancient and much desired privilege of great artists. When the contractor of the buildings, M. Pécoul, was arranging with David, he asked the artist to marry his daughter, Marguerite Charlotte. This marriage brought him money and eventually four children. David’s studio rapidly increased to as many as fifty pupils. He was then commissioned by the government to paint “Horace defended by his Father”, but he soon decided, “Only in Rome can I paint Romans.” His father-in-law provided the money he needed for the trip and David headed for the Eternal City with his wife and three of his students. In Rome, David painted his famous Oath of the Horatii, noted for its Enlightenment values while alluding to Rousseau’s social contract. Immediately the painting became a huge success with critics and the public and it is widely regarded as one of the best known paintings in the Neoclassical style. Housed today in the Louvre, the canvas depicts a scene from a Roman legend, taken from the first book of Livy’s History of Rome. It concerns a dispute between two warring cities, Rome and Alba Longa, stressing the importance of patriotism and masculine self-sacrifice for one’s country. Instead of the two cities sending their armies to war, they agree to choose three men from each city to engage in combat; the victors will win the war for their city. From Rome, three brothers, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father, who holds their swords out. Of the three Horatii brothers, only one shall survive the confrontation. However, it is the surviving brother that is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also portrays, in the bottom right corner, a seated woman crying. Camilla is a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters and therefore she weeps in the realisation that, in any case, she will lose someone she loves. In the image, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay

down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are represented as symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David’s simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an emotional intensity. In contrast, the tender-hearted women appear to weep and mourn, awaiting the tragic end of the combat. The king’s assistant d’Angivillier had commissioned Oath of the Horatii with the intention that it would be an allegory on loyalty to the state and therefore to the king. Nevertheless, David departed from the commission, painting a different scene from the requested part of the tale. Overall, his picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, which eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to the loyalty to the state rather than the family or the church. Painted five years before the Revolution, Oath of the Horatii reflects the mounting political tensions of the period.

Detail

Study for Camilla in black chalk and white highlights

The Death of Socrates

For the Salon of 1787, David exhibited Death of Socrates, housed today in the Metropolitan Museum of Art, New York. It concerns the real life event of the execution of Socrates, as told by Plato in his Phaedo. Socrates was convicted of corrupting the youth of Athens and introducing strange gods, resulting in his sentence to die by drinking poison hemlock. Plato describes how Socrates used his death as a final lesson for his pupils rather than fleeing when the opportunity arose. David represents Socrates as an old man in a white robe, sitting upright on a bed, one hand extended over a cup, the other gesturing in the air. He is surrounded by other men of varying ages, demonstrating emotional distress, unlike their stoic mentor. The young man handing him the cup looks the other way, hiding his face in his other hand. Another young man clutches the old man’s thigh in trepidation. Although David consulted Father Adry, a scholar on the subject, his depiction of Socrates’ death has several historical inaccuracies. For simplicity, he removes many characters originally described in Plato’s text. However, he includes Apollodorus, the man leaning against the wall by the arch, even though he is said to have been sent away by Socrates for displaying too much grief. David also portrays Plato as the old man sitting at the foot of the bed, though he would have been a young man at the time. The face of Socrates, well-known for its ugly appearance, is much more idealised than classical busts have represented the philosopher. The painting explores a philosopher’s approach to death. Socrates is stoic and calm as he views death as a separate, actual realm — a different state of being from life but not an end to being. In fact, Plato tells us how Socrates was more concerned with how his dear friend Crito would handle his death than with his own well-being. Socrates’ gesture demonstrates that he is still teaching, even in the moment before his death. Colour is employed to highlight the emotion in this composition. The shades of red are more muted on the edges of the painting and become more vibrant in its centre, culminating in the red robe of the man holding the cup of poison. The only two calm figures are Socrates and Plato, the blue and whites tones of their robes reflecting their more tranquil manner. This muted colour scheme may be

David’s response to critical reviews on Oath of the Horatii, which had attacked his palette as ‘garish’. The artist signed the canvas in two places: his full signature is under Crito, the young man clutching Socrates’ thigh; while his initials are indicated on Plato’s seat, perhaps as a homage to the author that inspired the composition. Moralising themes were popular in the tumultuous period preceding the French Revolution, at a time when great uncertainty troubled aristocratic circles. From its first exhibition at the Salon, David’s canvas has been widely admired for its clarity of narrative and purity of sentiment.

Detail

Detail: Plato

Detail

Traditional representation of Socrates, Louvre, Paris

The Lictors Bring to Brutus the Bodies of His Sons

The following 1789 painting, housed in the Louvre, caused a storm of controversy prior to the opening of the Salon, during the early months of the French Revolution. The royal court was concerned that propaganda might agitate the people, so all paintings had to be checked before being hung. David’s portrait of Lavoisier, a chemist and physicist as well as an active member of the Jacobin party, was banned by the authorities under this new ruling. When the newspapers reported that the government had not allowed his latest painting, The Lictors Bring to Brutus the Bodies of His Sons, the people were outraged and the royal family was forced to give in. The painting was subsequently hung in the exhibition and protected by art students. The canvas depicts Lucius Junius Brutus, the Roman leader, grieving for his sons, who had attempted to overthrow the government and restore the monarchy. The Roman historian Livy tells us that the father ordered his sons’ death in order to maintain the Republic, though at the cost of his own family. On the right, the mother of the slain sons comforts her two daughters and a servant is seen on the far right, hiding her face in a blue cloak, locked in anguish. Brutus sits to the left on a klismos, an ancient Greek chair, familiar from depictions of furniture on painted pottery and in bas-reliefs from the mid-fifth century BC onwards. Brutus is placed alone, obscured in shadow, as he peers out of the canvas with a determined scowl. David depicts Brutus’ feet in an awkward and crossed posture, connoting the inner turmoil of the grieving father. Conversely, his wife is portrayed in striking light, emphasising her suffering, as her headless sons are brought into the room by the lictors (the ancient Roman officers that attend a consul). The artist adopts a radical compositional format, placing the main character, Brutus, at the extreme left. For the sake of accuracy David based the features of Brutus on a famous antique bust, the so-called Capitoline Brutus, of which he owned a copy. The subject of death in service of the state was, of course, an inflammatory subject in 1789 France. Brutus had helped to rid Rome of the last of its kings, the tyrannical Tarquin the Proud. As Brutus’ two sons, Titus and Tiberius, were drawn into a royalist conspiracy to restore Tarquin, David was sending a strong message of support for the Revolution by depicting the death of royalist traitors.

Detail

The “Capitoline Brutus” is traditionally identified as a portrait of Brutus, dated 4th to early 3rd centuries BC.

The figure of the prophet Isaiah on the Sistine Chapel ceiling by Michelangelo — the posture of the feet is likely to have inspired David’s portrayal of Brutus.

Sketch of ‘The Tennis Court Oath’

A pivotal event in the early days of the French Revolution, the Tennis Court Oath occurred on 20 June 1789, when the members of the National Assembly vowed to each other “not to separate, and to reassemble wherever circ*mstances require, until the constitution of the kingdom is established.” The assembly had been called to address the country’s fiscal and agricultural crisis, but had been hindered by issues of representation. On the morning of 20 June, the deputies were shocked to discover that the chamber door was locked and guarded by soldiers. Immediately fearing the worst and anxious that an attack by King Louis XVI was imminent, the deputies congregated in a nearby indoor Jeu de paume court in the Saint-Louis district of the city of Versailles. There, 576 of the 577 members from the Third Estate took their famous collective oath. The only person that did not join was Joseph Martin-Dauch from Castelnaudary, who stated he only execute decisions made by the king. During the French Revolution, collective oaths like the Tennis Court Oath were considered as a factor in national unity. Painted between 1790 and 1794, David’s portrayal of the event was left unfinished, as political reversals and financial difficulties prevented him from completing the large canvas, which measures 400 by 660 cm and is now in the Musée national du Château de Versailles. The first engravings depicting The Tennis Court Oath appeared in 1790, the year David convinced the Jacobin Club to launch a national subscription to fund a grand painting of the event. He exhibited a pen and brown ink drawing — featured in the following plates — of his planned painting in the Louvre in 1791, but ultimately he did not secure enough money — the subscription had only had a ten percent take-up. The National Constituent Assembly thus decided to fund the work from the public treasury instead, which would be bolstered by selling engravings of the painting. David established a studio in the former Les Feuillants Convent to hold sittings for the deputies, then meeting in the nearby salle du Manège. However, by 1793, he was too busy as a deputy himself to complete his sketch for the painting and French political life was causing further problems for the doomed project. Mirabeau, one of the heroes of 1789, was now declared an enemy of the Revolution on the discovery of his secret correspondence with Louis XVI. A large number of deputies to the National Constituent Assembly had been

identified as enemies of the Government of Public Safety, and so David left the canvas unfinished, while the subscribers reclaimed their engraving from him. The sketch presents all the deputies looking at Bailly, suggesting their unanimous support of him. The only man to refuse to take the oath, MartinDauch, is portrayed in the lower right hand corner, offering a counterpoint to the general enthusiasm. The faces are delineated in individual detail so that every figure is recognisable. David also includes the monk Dom Gerle alongside the Protestant pastor Jean-Paul Rabaut Saint-Étienne, symbolising a new era of religious tolerance. The wind blowing through the windows and opening the curtains symbolises the wind of Revolution blowing through France. In 1820, David permitted rights on Jean Pierre Marie Jazet’s engraving of The Tennis Court Oath to Daniel Isoard de Martouret. The unfinished canvas itself was finally acquired in 1836 by the Royal museums for the Louvre, where it has been exhibited from 1880 onwards.

Detail

The unfinished painting of ‘Le Serment du Jeu de paume’, musée Carnavalet, 1791

Sketch of Prieur de la Marne’s face

Louis XVI of France by Antoine-François Callet, 1789

The Death of Marat

Jean-Paul Marat was one of the leaders of the Montagnards, the radical faction ascendant in French politics during the Reign of Terror until the Thermidorian Reaction. As a friend of Robespierre, Marat was a powerful figure, who also worked as editor-in-chief of L’Ami du Peuple. Some viewed him as an intransigent patriot, while for others he was merely a hateful demagogue. On 13 July 1793, a young Royalist from Caen, Charlotte Corday, managed through a clever subterfuge — promising details of a counter-revolutionary ring in Caen — to gain entry into his apartment. Marat often sat in a bathtub, treating a disfiguring skin disease that plagued him. When he agreed to receive Corday, still seated in his bath, she stabbed him with a butcher’s knife. She did not attempt to flee and was later tried and executed for the murder. The event would be later regarded as a key moment in the history of the French Revolution. Completed in 1793, a few months later, David’s depiction of the event vividly represents the radical journalist’s dying moments, immediately following his assassination. As well as being the leading French painter of his generation, David was a prominent Montagnard, and a Jacobin, aligned with Marat and Maximilian Robespierre. A deputy of the Museum section at the Convention, he voted for the death of the King and served on the Committee of General Security, where he actively participated in the sentencing and imprisonment of many captives. Painted in an idealised style, reminiscent of a Christian martyr, Marat appears with no sign of his chronic skin complaint, but is instead given an unblemished appearance. The monumental canvas was designed to commemorate a personable hero. Although the name Charlotte Corday can be seen on the paper held in Marat’s left hand, the murderer herself is left out of the painting, though she would have offered the most dramatic focus point. Instead, the vulnerability of Marat is highlighted, even though in reality she was still present in the room. David has chosen that the nobility of martyrdom should be the dominant message of the painting. Although Corday had left her knife impaled in Marat’s chest, it is represented on the ground, beside the bathtub, allowing the hero a more graceful death. For inspiration of the dying man’s posture, art historians have identified similarities between Caravaggio’s Entombment of Christ and The Death of Marat in the application of light and shade.

The painting shows Corday’s letter gripped in the dying man’s hand, reading “Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance” (Given that I am unhappy, I have a right to your help.) The deceit of the killer is revealed for all to see. In the bottom centre of the composition, Marat’s right hand still grasps a quill, for in his final moments he has written a note, seen on the wooden box. The hasty letter authorises the swift payment to a widow and her five children, whose father was killed fighting the Republic’s cause. Even in death, Marat is presented as a munificent hero. The canvas was widely admired during the Terror, as leaders ordered several copies of the original work. However, after Robespierre’s overthrow and execution, the image became less popular. At his request, the painting was returned to David in 1795, when he himself was being prosecuted for his involvement in the Terror. It would not be until Napoleon’s rise that he would become prominent again. From 1795 until David’s death, the painting languished in obscurity. During the artist’s exile in Belgium, it was hidden in France by Antoine Gros, David’s pupil. In 1826 the family tried to sell the painting, though had no success. It was rediscovered by critics in the midnineteenth century, when it became the starting point of an increased interest in David among artists and scholars. In the twentieth century, the painting inspired several leading artists, including Picasso and Munch, who produced their own versions of the subject. The original painting is currently held at the Royal Museum of Fine Arts in Brussels, as one of David’s descendants had bequeathed it in 1886 to the city that had offered the artist a welcome haven. Several copies made by David’s pupils have survived, notably in the museums of Dijon, Reims and Versailles. Interestingly, the original letter, with bloodstains and bath water marks still visible, has survived and is currently intact in the ownership of Robert Lindsay, 29th Earl of Crawford.

Detail

‘The Entombment of Christ’ by Caravaggio, c. 1603

‘Charlotte Corday’ by Paul Jacques Aimé Baudry, 1860

‘Death of Marat’ by Edvard Munch, 1907

Jean-Paul Marat (1743-1793)

Self Portrait of Jacques-Louis David

When the new National Convention held its first meeting, David was sitting with his friends Jean-Paul Marat and Robespierre. There he was quick to earn the nickname the “ferocious terrorist”. After Robespierre’s agents had discovered a secret vault belonging to the king, proving his plans to overthrow the government, they demanded his execution. The National Convention held the trial of Louis XVI and David voted for the death of the King, causing his wife, a royalist, to divorce him. The execution brought about a incredibly dark period of history in France, now known as the Reign of Terror, when it is estimated as many as 40,000 people lost their lives. Serving as a president of the convention, David will always be implicated with the many deaths caused during this turbulent time. However, in July 1784, Robespierre was overthrown, effectively bringing the Reign of Terror to an end. David painted only three self portraits and the last was completed when he was imprisoned for having supported Robespierre, narrowly missing out from being guillotined due to a stomach illness. Following Robespierre’s execution, the artist was taken to the House of Detention at the Hôtel des Fermes, rue de Grenelle, where his cell was, in fact, a small studio belonging to one of his pupils that was serving in the Army at the time. The conditions of his imprisonment were lenient and the artist’s ex-wife, from whom he had been divorced since March, took their children to see him. One of his pupils brought him painting materials as well as a mirror. It was in front of this mirror that he executed the following self portrait in August 1794. The canvas is now noted for its power and truthfulness, announcing the captive artist’s determination, truth and self-respect. His scrutinising gaze at once conveys his eager and passionate character. The image of the man before us has an inquisitive tendency, confirming his identity as a fine interpreter of other people’s faces. His fierce enthusiasm emphasises his determination to penetrate reality and discover its meaning. This is not David the history painter, known for representing reality as an ideal form, but instead David the portraitist, dedicated to exploring the truth of human nature. Embracing the tradition of the great portrait, the image focuses on the face and hands, while the actual setting is given little detail. Save for the elaborately depicted white shirt and scarf, we are asked to concentrate on the man before us.

David grasps his paintbrush in his left hand, stressing his great ability as an artist and perhaps excusing his participation in politics. In his other hand he grasps his palette, again enforcing his status as an artist rather than a Robespierrist. In the manner of Rembrandt and of Titian, David joins the greatest painters of the school of self-examination. After completing the painting, David gave it to his former student JeanBaptiste Isabey, through whom it eventually entered the collections of the Louvre in 1852.

Detail

David’s first self portrait, 1791, Uffizi Gallery

Jean-Baptiste Isabey with his daughter by François Gérard, 1795

Unfinished Portrait of General Bonaparte

During this politically unsafe time, portraiture would become an important type of work for David. Painting willing subjects would provide uncontroversial subjects, while allowing him to earn lucrative commissions. However, it was a young Corsican general that would win David the most important commission of his career. Napoleon Bonaparte had only just returned to Paris, newly promoted as general, after a very successful campaign in Italy. Blessed with his newfound hero status, Napoleon was able to seek out the city’s most famous artist and have his portrait painted by him. The following 1798 canvas is the first of many commissions that David would paint for Napoleon. Its most recognisable trait is that it is unfinished. David later explained that the great hero was such a restless and impatient person, that he was unable to make him sit for longer than three hours. It is an intriguing painting as it reveals the process in which David would go about constructing an image. From the simple lines that portray a pose to the build up of layers of heavy paint, the features of a living hero are presented on the canvas, as though they have been summoned from nothing. The image was commissioned to portray the Battle of Rivoli, with Napoleon holding the Treaty of Campo Formio in his hand, yet the setting and treaty were never included. Our attention is encouraged to focus on the young and determined gaze of the general, prophesying the monumental effect this subject would have upon the history of Europe.

Detail

‘Napoleon at the Battle of Rivoli’ by Philippoteaux, 1844, Galerie des Batailles, Palace of Versailles

The Intervention of the Sabine Women

After David was visited in prison by his wife, he conceived the idea of telling the Roman historical tale of the rape of the Sabine women, preferring a theme of love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the Revolution. It is now regarded as an example of a new style of painting, called the “Grecian style”, as opposed to the “Roman style” of his earlier historical paintings. This new style was influenced by the work of art historian Johann Joachim Winckelmann. David later explained, “the most prominent general characteristics of the Greek masterpieces are a noble simplicity and silent greatness in pose as well as in expression.” Livy, the Roman historian, tells the story in the first book of his Roman History. According to Livy, the Romans abducted the daughters of their neighbours, the Sabines and to avenge this abduction, the Sabines attacked Rome. The painting depicts Romulus’ wife Hersilia – the daughter of Titus Tatius, the leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, yet hesitates. The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict, as the Roman punishment for treason was to be thrown from the rock. Livy tells us that when Tatius attacked Rome, he almost succeeded in capturing the city due to the treason of the Vestal Virgin Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines, as she believed that she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and she was thrown from the rock that has since borne her name. David began planning the canvas while still imprisoned in the Luxembourg Palace in 1795. France was at war with other European nations after its period of civil conflict. David hesitated between representing either this subject or that of Homer reciting his verses to his fellow Greeks. He finally opted for the Sabine story, as a ‘sequel’ to Poussin’s celebrated The Rape of the Sabine Women, produced in the previous century. The Intervention of the Sabine Women represented a significant departure for the day, as previously historical depictions had been typically commissioned. Nevertheless, David conceived, produced and promoted his work for profit. He

even went so far as to provide marketing material to accompany the first exhibition, containing his own account of the episode and anticipating the controversy over his use of nudity with an end-note explaining his rationale. The painting was exhibited at a 1799 exhibition that attracted a large number of paying visitors for several years and in 1819 David sold the canvas, along with Leonidas at Thermopylae, to the Royal Museums for 10,000 francs. If reconciliation was the artist’s primary objective in producing this monumental image, then he was met with great success. David had continued to write letters to his former wife, declaring how he had never ceased loving her. They eventually remarried in 1796, when the artist had been fully released from prison. Wholly restored to freedom, David retreated to his studio, where he took pupils and for the most part, retired from politics.

Detail

‘The Rape of the Sabine Women’ by Nicolas Poussin, Rome, 1638, Louvre Museum

Portrait of Marguerite-Charlotte David, the artist’s wife, 1813, National Gallery of Art, Washington DC

Portrait of Madame Récamier

Housed in the Louvre, the following plate is a portrait of the Parisian socialite Juliette Récamier, depicting her in the height of Neoclassical fashion. David began work on the portrait in May 1800, though it is believed to have been left unfinished when he learned that François Gérard had been commissioned to paint a portrait of the same model, which Gerard completed in 1802. Apparently, Juliette Récamier thought David worked too slowly and so commissioned his pupil to paint her portrait instead. Infuriated by this, David said to his model: “Women have their whims, and so do artists; allow me to satisfy mine by keeping this portrait.” The painting remained in his studio and was probably not seen by the public until after it entered the Louvre in 1826. In 1864, Théophile Gautier wrote of Madame Récamier’s “indescribable attraction, like the poetry of the unknown.” The distinctive image would become influential to several important artists, including Jean-Auguste-Dominique Ingres, who produced his famous Grande Odalisque in 1814. Aged at the time twenty-three, Juliette Récamier was the wife of a Parisian banker and a leading figure of society. As the daughter of a notary, she epitomised the social ascension of the new post-revolutionary elite. Her husband had become one of the principal financial backers of the First Consul, Napoleon. In their mansion, restored by the architect Percier and furnished by the cabinetmaker Jacob, the couple were renowned for entertaining numerous writers and artists, many of whom reportedly fell passionately in love with Madame Récamier. David represents his subject as dressed in the “antique style”, surrounded by Pompeian furniture in an otherwise bare picture space — which, if not left unfinished, was a particularly avant-garde device for its time. Récamier reclines gracefully on a meridienne, her head turned towards the viewer, as she regards us levelly, with confidence, in spite of her youthful appearance. She wears a simple Empire line dress, with almost bare arms and short hair in the style “à la Titus”. The room is empty save for the antique sofa, stool and candelabra. She is seen from a distance, her facial features given limited space, suggesting that this is less a portrait of a person than of an ideal of feminine elegance. One of the painting’s most innovative aspects is its horizontal dimensions, atypical for a portrait, usually employed in history paintings. The bare space

around the figure emphasises the elegant features of the subject’s body, while stressing the importance of neoclassical ideals through the antique accessories. The white dress is counterbalanced by the warm hues of the furniture. The vibrant brushstrokes, with the white undercoat still showing through in places, give a sense of spontaneity to the image, as though we have caught the attention of the famous socialite at an unexpected moment.

Detail

‘La grande odalisca’ by Jean-Auguste-Dominique Ingres, 1814, Louvre

Leonidas at Thermopylae

David spent almost fifteen years working on the following canvas, Leonidas at Thermopylae, depicting a historical event of heroism drawn from Greek history. Herodotus tells us of the sacrifice of Leonidas and his three hundred Spartans. Vastly outnumbered, they refused to flee the rocky gorges of Thermopylae and were subsequently massacred by the Persian armies. The painting was finally finished the year that Napoleon abdicated for the first time and so plays upon the theme of a military defeat transformed into a moral victory. The Spartan King Leonidas is portrayed in the centre of the canvas, naked and preparing for combat. The leader faces the viewer directly, contemplating their doomed fate. Seated at his right is Agis, his wife’s brother, who looks to his commander for orders. To emphasise the devotion of the Spartans, three young soldiers lift up wreaths above two altars dedicated to Hercules and Aphrodite. On the left, a soldier carves on the rock the famous phrase, “Go, passer-by, to Sparta tell / Obedient to her law we fell”. Several soldiers embrace for the last time, while others equip themselves for the conflict with weapons and shields. In the background, we can see the Greek mountains and the advancing ships of the Persian army. In spite of the heroic beauty before us, death is imminent. The artist is believed to have made many sketches for the composition, often changing the groups and the poses of the figures. In an early surviving drawing, dated around 1799, Leonidas is presented in three-quarter profile, and the groups surrounding him are very different in order, while an immense landscape of rocks closes off the background. A drawing now in the Louvre precedes the painting by a year and is much closer the finished piece, including the framing device of the tree to the right edge. In the completed painting, the tree has fewer branches and leaves, freeing up the background, where we can glimpse a caravan of mules, fleeing what will become the battlefield.

Detail

Marble statue of Leonidas, 5th century BC, Archæological Museum of Sparta, Greece

The Louvre drawing

Napoleon Crossing the Alps

Between 1801 and 1805, David produced five versions of his monumental painting Napoleon Crossing the Alps. Initially commissioned by the King of Spain, the composition presents a highly idealised view of the crossing that Napoleon and his army made through the Great St. Bernard Pass in May 1800. Having seized power in France on 9 November 1799, Napoleon was determined to return to Italy to reinforce the French troops and retake the territory seized by the Austrians in the preceding years. In the following spring he led the Reserve Army across the Alps through the Great St. Bernard Pass. The Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the rarely crossed mountain route. By the time the French troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. The Reserve Army fought a battle at Montebello on 9 June, before eventually securing a decisive victory at the Battle of Marengo. The installation of Napoleon as First Consul and the French victory in Italy allowed for a resumption of harmonious relations with Charles IV of Spain. As talks were underway to re-establish diplomatic relations, a traditional exchange of gifts took place. Charles received Versailles-manufactured pistols, dresses from the best Parisian dressmakers, jewels for the queen and a fine set of armour for the newly reappointed Prime Minister, Manuel Godoy. In return Napoleon was offered sixteen Spanish horses from the royal stables, portraits of the King and Queen by Goya and the following portrait, commissioned from David. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles’ behalf. The portrait was to hang in Madrid’s Royal Palace as a token of the new relationship between the two countries. David, who had been an ardent supporter of the Revolution, but had transferred his fervour to the new Consulate, was keen to complete the commission. Bonaparte later instructed David to produce three further versions: one for the Château de Saint-Cloud, one for the library of Les Invalides and a third for the palace of the Cisalpine Republic in Milan. A fifth version was also produced and remained in the artist’s workshop until his death. The version featured in the following plates is the original version of the composition, completed in 1801 and housed today in Château de Malmaison, Rueil-Malmaison.

The commission specified a portrait of Napoleon standing in the uniform of the First Consul, but David was keen to paint an equestrian scene. The Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. Napoleon initially requested to be shown reviewing the troops, but eventually decided on a scene showing him crossing the Alps. In reality the crossing had been made in fine weather, as the French commander had been led across by a guide a few days after the troops, mounted on a mule. However, David has produced a powerful image of propaganda, playing upon the historical grand achievements of Hannibal and Charlemagne, who had also made famous crossings over the Alps. The names of the two leaders are engraved into the rocks, at once connecting their heroic status with Napoleon’s achievement. Few preparatory studies were made for the composition, unlike David’s normal practice. Gros, the artist’s pupil, produced a small oil sketch of a horse being reined in, which was likely a study for Napoleon’s horse and David’s notebooks show several sketches of first thoughts on the position of the rider. The lack of early studies is probably due to Bonaparte’s refusal to sit for the portrait. On accepting the commission for the Alpine scene, it appears that David expected that Napoleon would be sitting for the study, but the First Consul bluntly refused, stating that he disliked sitting and that he believed a painting should be a representation of his character rather than his physical appearance. He famously remarked, “For what good? Do you think that the great men of Antiquity for whom we have images sat?” Unable to convince Napoleon to sit for the picture, David took a bust as a starting point for his features, making his son perch on top of a ladder as a model. David was able to borrow the uniform and bicorne worn by Bonaparte at Marengo and two of the horses were used as models for the fiery steed. The first of the five portraits was painted in four months, from October 1800 to January 1801. On completion of the initial version, David immediately began work on the second version, which was finished on 25 May, the date of Bonaparte’s inspection of the portraits at David’s Louvre workshop. In contrast to his predecessors François Boucher and Jean-Honoré Fragonard, who employed a red or grey undercoat as a base colour on which to build up a painting, David used the white background of the canvas directly underneath his colours. The artist worked using two or three layers, and after finishing the basic outline with an ochre drawing, he would flesh out the painting with light touches, using a brush with little paint, concentrating on the blocks of light and shade rather than the details. The results of this technique are particularly noticeable in the original version of the canvas, especially in the treatment of the

back of the horse. The third and final layer was used for finishing touches: blending of tones and smoothing the surface — a process usually left to the assistants. David portrays Bonaparte mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne and armed with a Mamluk-style sabre. Wrapped in the folds of a large cloak that billows in the wind, Napoleon turns his head towards the viewer, gesturing with his right hand toward the mountain summit. His left hand grips the reins of his steed. The horse rears up on its hind legs, its mane and tail whipped against its body by the same wind that inflates Napoleon’s cloak. A line of artillery soldiers in the background make their way up the mountain, following the bold movement of their imposing leader. Dark clouds hang over the composition and in front of Bonaparte the mountains rise up sharply. The first version of the painting remained in Madrid until 1812, when it was removed by Joseph Bonaparte after his abdication as King of Spain. He took it with him into exile in the United States, where it hung at his Point Breeze estate near Bordentown, New Jersey. The painting was handed down through his descendants up until 1949, when his great grandniece, Eugenie Bonaparte, bequeathed it to the museum of the Château de Malmaison.

Detail

The first Versailles version

The second Versailles version

The Château de Malmaison, near the western bank of the Seine, about nine miles west of the centre of Paris in Rueil-Malmaison

Charles IV was King of Spain from 1788 until his abdication in 1808, painted by Goya, 1789. The Spanish King commissioned the first version of ‘Napoleon Crossing the Alps’

The Coronation of Napoleon

Completed in 1807, this enormous painting — almost 10 metres wide by 6 metres tall — depicts the coronation of Napoleon at Notre-Dame de Paris. It was commissioned by Napoleon in September 1804 and its official title is Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine in the Cathedral of Notre-Dame de Paris on 2 December 1804. David commenced work on 21 December 1805 in the former chapel of the College of Cluny, near the Sorbonne, which served as a suitable workshop. Assisted by his student Rouget, he applied the finishing touches in January 1808. From 7 February to 21 March 1808, the work was exhibited at the Salon annual painting display and it was presented to the Salon decennial prize competition in 1810. The canvas remained the property of David until 1819, when it was transferred to the Royal Museums, where it was stored in the reserves until 1837. Then it was installed in the Chamber Sacre of the museum of the historical Palace of Versailles on the orders of King Louis-Philippe. In 1889, the painting was transferred to the Louvre, where it still hangs today. Having originally intended to portray the event faithfully, with Napoleon crowning himself to avoid giving a pledge of obedience to the Pontiff, David decided against portraying this potentially awkward moment in paint. Therefore, he opted to paint the coronation of Josephine by Napoleon, with the Pope blessing the Empress. David is likely to have been influenced by Rubens’ Coronation of Queen Marie de Medici, a representation of an historical event in the life of Queen Marie de’ Medici, widow of Henry IV of France, which was commissioned for the Luxembourg Palace in Paris. Rubens presents Cardinal Joyeuse crowning the Queen similarly to how David has chosen to represent Napoleon crowning his Empress. In accordance with David’s usual method, numerous studies, both painted and drawn, preceded the execution of the work. A well-known example would be the portrait of Pius VII, also now in the Louvre. The artist would then fashion a model, on which he could arrange dolls in costume. Grouped round the altar close to Napoleon, are the chief dignitaries — Cambécčres, the Lord Chancellor, Marshal Berthier, Grand Veneur, Talleyrand, the Lord Chamberlain and Lebrun, the Chief Treasurer. Madame de la Rochefoucauld carries the Empress’ train, while behind her are the Emperor’s

sisters, and his brothers Louis and Joseph. The composition is organised around several axes, incorporating the rules of Neoclassicism. One axis passes through the cross and employs a vertical orientation. Napoleon is the centre of the composition, at once arresting the attention of the viewer, while a diagonal line runs from the Pope to the Empress. Napoleon is dressed in coronation robes similar to those worn by Roman emperors, his head decked in a splendid golden wreath. Joséphine, who was in fact forty-one years old at the time, is made to look much younger for the occasion. She is portrayed in profile, standing out against the decadent yellow ochre of the cross-bearer’s cope. David utilises a remarkably rich palette of colours to depict the velvets, furs, satins and lamés of the various costumes and furnishings. The Emperor was delighted with the finished canvas, claiming it was “not a painting... you can actually walk around the scene… life is everywhere.” The immense composition gave the everyday people of France a rare view of an event that could be only attended by the noble and powerful.

Detail

Sketch of Napoleon crowning himself by David, Louvre

‘Coronation of Queen Marie de Medici’ by Peter Paul Rubens, 1622, Louvre — a likely source of inspiration

Inside Notre-Dame today, where the ceremony took place

The Emperor Napoleon in His Study at the Tuileries

After completing the grand coronation painting, commissions from Napoleon soon ceased, partly due to the exorbitant fees that David would charge. However, there was one last portrait, commissioned by a Scottish nobleman and admirer of Napoleon, Alexander Hamilton, 10th Duke of Hamilton for the colossal fee of 1,000 guineas. The 1812 painting depicts Napoleon in his study at the Tuileries Palace. Originally exhibited at Hamilton Palace, it was sold to Archibald Primrose, 5th Earl of Rosebery in 1882, from whom it was bought by the Samuel H. Kress Foundation in 1954. It was later deposited in Washington D.C.’s National Gallery of Art, where it currently resides today. This time David provides a much more intimate view of Napoleon, standing three-quarters life size, wearing the uniform of a colonel of the Imperial Guard Foot Grenadier, which is blue with white facings and red cuffs. He also wears his Légion d’honneur and Order of the Iron Crown decorations, along with gold epaulettes, white French-style culottes and white stockings. His face is turned towards the viewer and his right hand is placed in his jacket, adopting his famous pose. His face is no longer idealised, but affords us a more genuine view of the great general’s features. On the ornate desk we see several books, dossiers and rolled papers, hinting at the tireless nature of the military commander. This impression is further conveyed by Napoleon’s unbuttoned cuffs, wrinkled stockings, dishevelled hair, the low candles and the time on the clock being past four in the morning. It appears he has been up all night, writing laws, as the word “Code” is clearly visible on the rolled papers. The canvas stresses his civil status, rather than his heroic character, which was emphasised in earlier portraits. The fleurs-de-lys and heraldic bees imply the stability of the imperial dynasty.

Detail

The Tuileries Palace and the Arc de Triomphe du Carrousel c. 1860. The Arc de Triomphe de l’Etoile can be seen in the background.

The second version of the portrait

Portrait of Emmanuel Joseph Sieyès

Following Napoleon’s defeat at Waterloo in 1815, David’s position in France became untenable. He figured in the list of proscribed former revolutionaries and Bonapartists, having voted execution for the deposed King Louis XVI and for participating in the death of Louis XVII. The newly restored Bourbon King, Louis XVIII, however, granted amnesty to David and even offered him the position of court painter. Nevertheless, he refused, preferring self-exile in Brussels. There, he trained and influenced Brussels artists like François-Joseph Navez and Ignace Brice, while living the remainder of his life quietly with his wife. During this time, he painted smaller-scale mythological scenes and portraits of citizens of Brussels and Napoleonic émigrés. The following portrait is of Emmanuel Joseph Sieyès (1748– 1836), a radical clergyman and fellow exile, who had been an early proponent of the claims of the Third Estate, or the French commoners, at the outset of the Revolution in 1789. Though Sieyès lacked distinction as an orator, he remained a figure of great influence throughout the Revolution and was instrumental in bringing Napoleon to power in 1799. His subsequent relations with the tyrant remain unclear, though he remained in favour until he voted for the Emperor’s deposition in 1814. It must have been a poignant portrait for David to complete, presenting the noble figure of a fellow exile. Painter and sitter had the shared experience of being survivors of nearly thirty years of political turmoil in which they played considerable roles, before facing the overthrow of their life’s ambitions. The Latin inscription at the top of the painting tells us AETATIS SUAE 69, revealing that in 1817, the year the painting was produced, Sieyès was David’s exact contemporary, aged sixty-nine, though he appears much younger. Calmly and unflinchingly, the sitter regards us, his facial expression bespeaking his determination and obstinacy, traits the artist also shared with his subject. Though an exile denied the land of his birth, this is a man that displays no regret or remorse for his actions. Instead, we are presented with the image of a noble sitter, bearing his fall from grace with dignity and resilience. Sieyès finally returned to France after the July Revolution of 1830. He died six years later in Paris at the age of eighty-eight.

Detail

Bust of Sieyès by David d’Angers, 1838

Portrait of David by François-Joseph Navez, 1817

Mars Being Disarmed by Venus and the Three Graces

David produced his last great canvas, Mars Being Disarmed by Venus and the Three Graces, between 1822 and 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.” Evoking painted porcelain due to its limpid coloration, the painting offers a bold and puzzling mythological scene played out against an ornate marble pavilion in the sky. At over ten feet high, it is an imposing work. Most of David’s models were figures involved in the Théâtre de la Monnaie: Venus was modelled by the actress Marie Lesueur, Cupid by Lucien Petipa, Mars by a subscriber and one of the Graces was in fact the Prince of Orange’s mistress. Mars, the god of war appears to be succumbing to the charms of his paramour Venus, though the outcome is still in doubt. The goddess hesitates to place the crown of roses on his head, a symbol of submission to the pleasures of the flesh, while Cupid unties the God of War’s sandal. The golden arrow of desire and the leaden arrow of repulsion have been placed side-by-side by Cupid. Mars appears nude, as a pair of cooing doves conceal his genitals for the sake of propriety. Venus is portrayed with a delicate and sinuous form, much thinner than how the voluptuous goddess was usually depicted. Behind the antique couch, David depicts the Three Graces, who perform awkward poses. Traditionally, the Graces were the beautiful handmaidens of Venus, though David depicts them as absurd, even comical figures. One of the maidens offers a cup of wine to Mars, although he has no free hand to take it; another rolls his shield childishly along the ground and the other Grace holds Mars’ helmet up high, with no apparent reason for doing so. The garish colours and hard-edged style likely confirm substantial contributions from the artist’s Belgian assistants. The exiled David sent the canvas to an exhibition in Paris, knowing that at that time Romanticism was ascendant in the Salon. His former students flocked to view the painting and the exhibition was profitable, earning the artist 13,000 francs, after deducting operating costs, revealing that more than 10,000 people viewed it. In his later years, David remained in full command of his artistic faculties, even though a stroke in the spring of 1825 disfigured his face and caused his speech to slur. One day, as David was leaving a theatre, a carriage struck him

and he later died from the injury on 29 December 1825. Following his death, several portraits were auctioned in Paris and they sold for little. The famed Death of Marat was exhibited in a secluded room, to avoid outraging public sensibilities. Forbidden return to France for burial, due to his status as a regicide of King Louis XVI, David’s remains were interred at a Brussels cemetery, while his heart was buried with his wife at Père Lachaise Cemetery, Paris. In his time, David was regarded as the leading painter in France and his esteemed pupil, Jean Auguste Dominique Ingres, became the most important artist of the restored Royal Academy, continuing his master’s work as the new figurehead of the Neoclassical school of art. David’s reputation was more fiercely criticised immediately after his death than at any point during his life. His style came under serious scrutiny for being static and rigid and for lacking warmth. However, David had made his career precisely by challenging the rigidity and conformity of the French Royal Academy’s approach to art. His later paintings demonstrate his ability to develop, producing his own Empire style, notable for dynamism and warm colours. Much of the criticism of David following his death came from the artist’s opponents; he had made many enemies with his competitive and at times arrogant personality. Then, there is his role in the Terror. As David had sent many to the guillotine and personally signed the death warrants for King Louis XVI and Marie Antoinette, it can come as no surprise that following his death, many were keen to attack his reputation. In the twentieth-century David has enjoyed a revival in popular favour and in 1948 his two-hundredth birthday was celebrated with an exhibition at the Musée de l’Orangerie in Paris and at Versailles, detailing his life’s work. Following World War II, 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. Today, he is remembered as the principal exponent of the late eighteenth-century Neoclassical reaction against the Rococo style. Directing artistic taste away from light frivolity, David produced works remarkable for their classical austerity, embracing heightened feeling, while harmonising with the moral climate of the final years of the Ancien Régime.

Detail

Portrait of David by Jérome-Martin Langlois, 1824

The Paintings

The Collège des Quatre-Nations, c. 1670 — where David received an excellent rounded education

The Complete Paintings

David’s paintings are presented in chronological order and divided into decade sections, with an alphabetical table of contents following immediately after. CONTENTS 1760’s Jupiter and Antiope Madame François Buron Portrait of François Buron Portrait of Marie-Françoise Buron 1770’s The Combat of Mars and Minerva The Combat of Mars and Minerva (study) Diana and Apollo Piercing Niobe’s Children with their Arrows Portrait of Michel-Jean Sedaine The Death of Seneca Erasistratus Discovering the Cause of Antiochus’ Disease Mademoiselle Guimard as Terpsichore Hector The Funeral of Patroclus A Philosopher St. Jerome 1780’s Belisarius (study) Equestrian Portrait of Stanisław Kostka Potocki Patroclus Portrait of a Young Woman in a Turban St Roch Asking the Virgin Mary to Heal Victims of the Plague Study of a Young Man with a Diadem Study of the Head of a Man

Belisarius Receiving Alms Christ on the Cross Portrait of Jacques-François Desmaisons Andromache Mourning Hector Portrait of Doctor Alphonse Leroy Belisarius Receiving Alms (smaller version) Belisarius Receiving Alms (study) Jean-Pierre Pecoul Madame Charles-Pierre Pecoul Oath of the Horatii Portrait of Philippe-Laurent de Joubert The Death of Socrates The Vestal The Love of Paris and Helen Portrait of Antoine-Laurent and Marie-Anne Lavoisier The Lictors Returning to Brutus the Bodies of his Sons 1790’s Anne-Marie-Louise Thélusson, Comtesse de Sorcy Portrait of Bertrand Barère de Vieuzac (1755-1841) Portrait of Pierre Sériziat Portrait of the Marquise d’Orvilliers Self Portrait Filippo Mazzei Portrait of Prieur de la Marne (1756-1827) (Study) The Tennis Court Oath Self Portrait Camille Desmoulins, his Wife and their Son Madame Charles-Louis Trudaine Portrait of Madame Adélaide Pastoret Antoinette Gabrielle Charpentier Danton The Death of Marat The Jeu de Paume Oath Portrait of Mademoiselle Ducreux The Representative of the People on Duty The Death of Bara The Jailer

Portrait of Jean-Sylvain Bailly Self Portrait View of the Garden of Luxembourg Palace Catherine-Marie-Jeanne Tallard Jacobus Blauw Portrait of André-Antoine Bernard Portrait of Emilie Sériziat and her Son Portrait of Pierre Sériziat Psyche Abandoned Gaspard Mayer Unfinished Portrait of General Bonaparte Portrait of a Young Woman in White The Intervention of the Sabine Women Madame Raymond de Verninac 1800’s Juliette Recamier Napoleon Crossing the Alps (Malmaison) Napoleon Crossing the Alps (Charlottenburg) Portrait of Docteur Delzeuze as a Child Napoleon Crossing the Alps (Versailles 1) Portrait of Cooper Penrose Portrait of Ingres Napoleon Crossing the Alps (Belvedere) Napoleon Crossing the Alps (Versailles 2) Suzanne Le Peletier de Saint-Fargeau Napoleon I in His Imperial Robes Portrait of Pope Pius VII Portrait of Pope Pius VII and Cardinal Caprara The Coronation of Napoleon and Josephine Study for ‘‘the Coronation of Napoleon’’, Head of Josephine Sappho and Phaon 1810’s The Distribution of the Eagles Portrait of Countess Daru Portrait of Earl Antoine Français de Nantes

The Emperor Napoleon in his Study at the Tuileries (Washington version) The Emperor Napoleon in his Study at the Tuileries (second version) Homer and Calliope Laure-Emilie-Félicité David, Baronne Meunier Monsieur and Madame Mongez Portrait of General Baron Claude Marie Meunier Portrait of Marguerite-Charlotte David Leonidas at Thermopylae Apelles painting Campaspe Portrait of Jean-Pierre Delahaye Portrait of Comte Henri-Amedee de Turenne Portrait of Etienne Maurice Gerard Portrait of the Comte de Turenne Portrait of the Comtesse Vilain XIIII and her Daughter Cupid and Psyche Portrait of Emmanuel-Joseph Sieyès Portrait of French Archaeologist Alexandre Lenoir The Farewell of Telemachus and Eucharis The Anger of Achilles (first version) 1820’s Portrait of Ramel de Nogaret The Sisters Zenaide and Carlotta The Fortune Teller Mars Disarmed by Venus and the Three Graces Portrait of Juliette de Villeneuve (1802-1840) The Anger of Achilles (second version)

Alphabetical List of Paintings

CONTENTS A Philosopher Andromache Mourning Hector Anne-Marie-Louise Thélusson, Comtesse de Sorcy Antoinette Gabrielle Charpentier Danton Apelles painting Campaspe Belisarius (study) Belisarius Receiving Alms Belisarius Receiving Alms (smaller version) Belisarius Receiving Alms (study) Camille Desmoulins, his Wife and their Son Catherine-Marie-Jeanne Tallard Christ on the Cross Cupid and Psyche Diana and Apollo Piercing Niobe’s Children with their Arrows Equestrian Portrait of Stanisław Kostka Potocki Erasistratus Discovering the Cause of Antiochus’ Disease Filippo Mazzei Gaspard Mayer Hector Homer and Calliope Jacobus Blauw Jean-Pierre Pecoul Juliette Recamier Jupiter and Antiope Laure-Emilie-Félicité David, Baronne Meunier Leonidas at Thermopylae Madame Charles-Louis Trudaine Madame Charles-Pierre Pecoul Madame François Buron Madame Raymond de Verninac

Mademoiselle Guimard as Terpsichore Mars Disarmed by Venus and the Three Graces Monsieur and Madame Mongez Napoleon Crossing the Alps (Belvedere) Napoleon Crossing the Alps (Charlottenburg) Napoleon Crossing the Alps (Malmaison) Napoleon Crossing the Alps (Versailles 1) Napoleon Crossing the Alps (Versailles 2) Napoleon I in His Imperial Robes Oath of the Horatii Patroclus Portrait of a Young Woman in a Turban Portrait of a Young Woman in White Portrait of André-Antoine Bernard Portrait of Antoine-Laurent and Marie-Anne Lavoisier Portrait of Bertrand Barère de Vieuzac (1755-1841) Portrait of Comte Henri-Amedee de Turenne Portrait of Cooper Penrose Portrait of Countess Daru Portrait of Docteur Delzeuze as a Child Portrait of Doctor Alphonse Leroy Portrait of Earl Antoine Français de Nantes Portrait of Emilie Sériziat and her Son Portrait of Emmanuel-Joseph Sieyès Portrait of Etienne Maurice Gerard Portrait of François Buron Portrait of French Archaeologist Alexandre Lenoir Portrait of General Baron Claude Marie Meunier Portrait of Ingres Portrait of Jacques-François Desmaisons Portrait of Jean-Pierre Delahaye Portrait of Jean-Sylvain Bailly Portrait of Juliette de Villeneuve (1802-1840) Portrait of Madame Adélaide Pastoret Portrait of Mademoiselle Ducreux Portrait of Marguerite-Charlotte David Portrait of Marie-Françoise Buron

Portrait of Michel-Jean Sedaine Portrait of Philippe-Laurent de Joubert Portrait of Pierre Sériziat Portrait of Pierre Sériziat Portrait of Pope Pius VII Portrait of Pope Pius VII and Cardinal Caprara Portrait of Prieur de la Marne (1756-1827) (Study) Portrait of Ramel de Nogaret Portrait of the Comte de Turenne Portrait of the Comtesse Vilain XIIII and her Daughter Portrait of the Marquise d’Orvilliers Psyche Abandoned Sappho and Phaon Self Portrait Self Portrait Self Portrait St Roch Asking the Virgin Mary to Heal Victims of the Plague St. Jerome Study for ‘‘the Coronation of Napoleon’’, Head of Josephine Study of a Young Man with a Diadem Study of the Head of a Man Suzanne Le Peletier de Saint-Fargeau The Anger of Achilles (first version) The Anger of Achilles (second version) The Combat of Mars and Minerva The Combat of Mars and Minerva (study) The Coronation of Napoleon and Josephine The Death of Bara The Death of Marat The Death of Seneca The Death of Socrates The Distribution of the Eagles The Emperor Napoleon in his Study at the Tuileries (second version) The Emperor Napoleon in his Study at the Tuileries (Washington version) The Farewell of Telemachus and Eucharis The Fortune Teller The Funeral of Patroclus

The Intervention of the Sabine Women The Jailer The Jeu de Paume Oath The Lictors Returning to Brutus the Bodies of his Sons The Love of Paris and Helen The Representative of the People on Duty The Sisters Zenaide and Carlotta The Tennis Court Oath The Vestal Unfinished Portrait of General Bonaparte View of the Garden of Luxembourg Palace

1760’s

Jupiter and Antiope 1768 William Hayes Ackland Memorial Art Center Oil on canvas

Madame François Buron 1769 Art Institute of Chicago Oil on canvas

Portrait of François Buron 1769 Private collection Oil on canvas

Portrait of Marie-Françoise Buron 1769 Musée des Beaux-Arts, Algiers Oil on canvas

1770’s

The Combat of Mars and Minerva 1771 Musée du Louvre Oil on canvas

The Combat of Mars and Minerva (study) 1771 Palais des Beaux Arts de Lille Oil on canvas

Diana and Apollo Piercing Niobe’s Children with their Arrows 1772 Dallas Museum of Art

Portrait of Michel-Jean Sedaine 1772 Private collection Oil on canvas

The Death of Seneca 1773 Musée du Petit Palais (Paris) Oil on canvas

Erasistratus Discovering the Cause of Antiochus’ Disease 1774 École nationale supérieure des Beaux-Arts Oil on canvas

Mademoiselle Guimard as Terpsichore 1773-1775 Private collection Oil on canvas

Hector 1778 Musée Fabre Oil on canvas

The Funeral of Patroclus 1779 National Gallery of Ireland Oil on canvas

A Philosopher 1779 Musée Baron Gérard Oil on canvas

St. Jerome 1779 National Gallery of Canada - Ottawa Oil on canvas

1780’s

Belisarius (study) 1780 Private collection Oil on canvas

Equestrian Portrait of Stanisław Kostka Potocki 1780 Muzeum Pałacu Króla Jana III w Wilanowie - Warsaw Oil on canvas

Patroclus 1780 Musée Thomas-Henry Oil on canvas

Portrait of a Young Woman in a Turban 1780 Cleveland Museum of Art Oil on canvas

St Roch Asking the Virgin Mary to Heal Victims of the Plague 1780 Musée des Beaux-Arts de Marseille Painting

Study of a Young Man with a Diadem 1780 Musée Fabre Oil on canvas

Study of the Head of a Man 1780 Musée Fabre Oil on canvas

Belisarius Receiving Alms 1781 Palais des Beaux Arts de Lille Oil on canvas

Christ on the Cross 1782 Eglise Saint-Vincent de Mâcon Oil on canvas

Portrait of Jacques-François Desmaisons 1782 Albright-Knox Art Gallery Oil on canvas

Andromache Mourning Hector 1783 Musée du Louvre Oil on canvas

Portrait of Doctor Alphonse Leroy 1783 Musée Fabre Oil on canvas

Belisarius Receiving Alms (smaller version) 1784 Musée du Louvre Oil on canvas

Belisarius Receiving Alms (study) 1780-1784 Musée Ingres Oil on canvas

Jean-Pierre Pecoul 1784 Musée du Louvre Oil on canvas

Madame Charles-Pierre Pecoul 1784 Musée du Louvre Oil on canvas

Oath of the Horatii 1784 Musée du Louvre Oil on canvas

Portrait of Philippe-Laurent de Joubert 1786 Musée Fabre Oil on canvas

The Death of Socrates 1787 Metropolitan Museum of Art - New York, NY Oil on canvas

The Vestal 1783-1787 Private collection Oil on canvas

The Love of Paris and Helen 1788 Musée du Louvre Oil on canvas

Portrait of Antoine-Laurent and Marie-Anne Lavoisier 1788 Metropolitan Museum of Art - New York, NY Oil on canvas

The Lictors Returning to Brutus the Bodies of his Sons 1789 Musée du Louvre Oil on canvas

1790’s

Anne-Marie-Louise Thélusson, Comtesse de Sorcy 1790 Neue Pinakothek - Bayerische Staatsgemäldesammlungen Oil on canvas

Portrait of Bertrand Barère de Vieuzac (1755-1841) 1790 Château de Versailles Oil on canvas

Portrait of Pierre Sériziat 1790 National Gallery of Canada - Ottawa Oil on canvas

Portrait of the Marquise d’Orvilliers 1790 Musée du Louvre Oil on canvas

Self Portrait 1790 The Pushkin State Museum of Fine Arts Oil on canvas

Filippo Mazzei 1790-1791 Musée du Louvre Oil on canvas

Portrait of Prieur de la Marne (1756-1827) (Study) 1791 Musée des Beaux-Arts et d’Archéologie de Besançon Oil on canvas

The Tennis Court Oath 1791 Musée Carnavalet Oil on canvas

Self Portrait 1791 Galleria degli Uffizi Oil on canvas

Camille Desmoulins, his Wife and their Son 1792 Château de Versailles Oil on canvas

Madame Charles-Louis Trudaine 1791-1792 Musée du Louvre Oil on canvas

Portrait of Madame Adélaide Pastoret 1791-1792 Art Institute of Chicago Oil on canvas

Antoinette Gabrielle Charpentier Danton 1793 Musée d’Art Moderne de Troyes Oil on canvas

The Death of Marat 1793 Musées Royaux des Beaux-Arts de Belgique - Brussels Oil on canvas

The Jeu de Paume Oath 1790-1793 Château de Versailles Oil on canvas

Portrait of Mademoiselle Ducreux 1793 Musée des Beaux-Arts de Rouen Oil on canvas

The Representative of the People on Duty 1794 Pen, ink and watercolour, 315 x 220 mm Musée Carnavalet, Paris

The Death of Bara 1794 Musée Calvet

The Jailer 1794 Musée des Beaux-Arts de Rouen Oil on canvas

Portrait of Jean-Sylvain Bailly 1784-1794 Musée Carnavalet Oil on canvas

Self Portrait 1794 Musée du Louvre Oil on canvas

View of the Garden of Luxembourg Palace 1794 Musée du Louvre Oil on canvas

Catherine-Marie-Jeanne Tallard 1795 Musée du Louvre Oil on canvas

Jacobus Blauw 1795 National Gallery London Oil on canvas

Portrait of André-Antoine Bernard 1795 J. Paul Getty Museum - Los Angeles Oil on canvas

Portrait of Emilie Sériziat and her Son 1795 Musée du Louvre Oil on canvas

Portrait of Pierre Sériziat 1795 Musée du Louvre Oil on canvas

Psyche Abandoned 1795 Private collection

Gaspard Mayer 1795-1796 Musée du Louvre Oil on canvas

Unfinished Portrait of General Bonaparte 1797 Musée du Louvre Oil on canvas

Portrait of a Young Woman in White 1798 National Gallery of Art, Washington DC Oil on canvas

The Intervention of the Sabine Women 1796-1799 Musée du Louvre Oil on canvas

Madame Raymond de Verninac 1799 Musée du Louvre Oil on canvas

1800’s

Juliette Recamier 1800 Musée du Louvre Oil on canvas

Napoleon Crossing the Alps (Malmaison) 1800 Château de Malmaison Oil on canvas

Napoleon Crossing the Alps (Charlottenburg) 1801 Schloss Charlottenburg Oil on canvas

Portrait of Docteur Delzeuze as a Child 1801 Musée des Beaux-Arts de Rouen Oil on canvas

Napoleon Crossing the Alps (Versailles 1) 1802 Château de Versailles Oil on canvas

Portrait of Cooper Penrose 1802 Timken Museum of Art - San Diego Oil on canvas

Portrait of Ingres 1797-1802 The Pushkin State Museum of Fine Arts Oil on canvas

Napoleon Crossing the Alps (Belvedere) 1803 Österreichische Galerie Belvedere - Vienna

Napoleon Crossing the Alps (Versailles 2) 1803 Château de Versailles Oil on canvas

Suzanne Le Peletier de Saint-Fargeau 1804 J. Paul Getty Museum - Los Angeles Oil on canvas

Napoleon I in His Imperial Robes 1805 Palais des Beaux Arts de Lille Oil on canvas

Portrait of Pope Pius VII 1805 Musée du Louvre Oil on canvas

Portrait of Pope Pius VII and Cardinal Caprara 1805 Philadelphia Museum of Art Oil on canvas

The Coronation of Napoleon and Josephine 1805-1807 Musée du Louvre Oil on canvas

Study for ‘‘the Coronation of Napoleon’’, Head of Josephine 1805-1807 Musée Fabre Oil on canvas

Sappho and Phaon 1809 The State Hermitage Museum - St Petersburg Oil on canvas

1810’s

The Distribution of the Eagles 1810 Château de Versailles

Portrait of Countess Daru 1810 Frick Collection - New York Oil on canvas

Portrait of Earl Antoine Français de Nantes 1811 Musée Jacquemart-André Oil on panel

The Emperor Napoleon in his Study at the Tuileries (Washington version) 1812 National Gallery of Art, Washington DC Oil on canvas

The Emperor Napoleon in his Study at the Tuileries (second version) 1812 Château de Versailles Oil on canvas

Homer and Calliope 1812 Harvard Art Museums Oil on canvas

Laure-Emilie-Félicité David, Baronne Meunier 1812 Fine Arts Museums of San Francisco - Legion of Honor Oil on canvas

Monsieur and Madame Mongez 1812 Musée du Louvre Oil on canvas

Portrait of General Baron Claude Marie Meunier 1812 Private collection Oil on canvas

Portrait of Marguerite-Charlotte David 1813 National Gallery of Art, Washington DC Oil on canvas

Leonidas at Thermopylae 1814 Musée du Louvre Oil on canvas

Apelles painting Campaspe 1815 Palais des Beaux Arts de Lille Oil on panel

Portrait of Jean-Pierre Delahaye 1815 Los Angeles County Museum of Art Oil on canvas

Portrait of Comte Henri-Amedee de Turenne 1816 Sterling and Francine Clark Art Institute - Williamstown, MA Oil on canvas

Portrait of Etienne Maurice Gerard 1816 Metropolitan Museum of Art - New York, NY Oil on canvas

Portrait of the Comte de Turenne 1816 Ny Carlsberg Glyptotek - Copenhagen Oil on canvas

Portrait of the Comtesse Vilain XIIII and her Daughter 1816 National Gallery London Oil on canvas

Cupid and Psyche 1817 Cleveland Museum of Art Oil on canvas

Portrait of Emmanuel-Joseph Sieyès 1817 Harvard Art Museums Oil on canvas

Portrait of French Archaeologist Alexandre Lenoir 1815-1817 Musée du Louvre Oil on panel

The Farewell of Telemachus and Eucharis 1818 J. Paul Getty Museum - Los Angeles Oil on canvas

The Anger of Achilles (first version) 1819 Kimbell Art Museum - Fort Worth Oil on canvas

1820’s

Portrait of Ramel de Nogaret 1820 Private collection Oil on canvas

The Sisters Zenaide and Carlotta 1821 Museo Napoleonico di Roma Oil on canvas

The Fortune Teller 1824 Fine Arts Museums of San Francisco - Legion of Honor Oil on canvas

Mars Disarmed by Venus and the Three Graces 1824 Musées Royaux des Beaux-Arts de Belgique - Brussels Oil on canvas

Portrait of Juliette de Villeneuve (1802-1840) 1824 Musée du Louvre Oil on canvas

The Anger of Achilles (second version) 1825 Private collection Oil on canvas

The Drawings

Maison de Jacques-Louis David, 7 rue Léopold, Brussels — David’s home in his exile and where the artist died

List of Drawings

CONTENTS Sorrow The Combat of Diomedes View of the Tiber and Castel St Angelo Minerva A Young Woman of Frascati Alexander Ordering the Books of Homer to be Preserved Augustus Forbidding the Burning of Virgil’s Aeneid The Death of Pentheus Fanciful View of the Forum, with the Arch of Septimus Severus Horseman and Soldier, after Mola Two Roman Altars with the Epitaphs D. I. S. Manibus View of Along the Tiber with Castel Sant’Angelo View of Rome with the Senatorial Palaces and the Pyramid of Cestius The Death of Camilla The Death of Socrates Elder Horatius Defending his Son (first version) Elder Horatius Defending his Son (second version) The Grief of Andromache Andromache Mourning Hector The Ghost of Septimus Severus Appearing to Caracalla, after the Murder of his Brother Geta Portrait of Jeanne-Suzanne Sedaine The Death of Socrates Study for the Execution of the Sons of Brutus The Three Horatii Brothers The Lictors Bringing Brutus the Bodies of his Sons Brutus Study after Michelangelo View of the Interior of the Tennis Court Allegory of the Revolution in Nantes Deputies Swearing Oaths The Tennis Court Oath Louis XVI Showing the Constitution to his Son, the Dauphin Allegory of the French People Offering the Crown and Sceptre to the King The English Government

Woman in a Turban Portrait of Jeanbon Saint-André Head of Dead Marat Marie Antoinette on the Way to the Guillotine Homer Reciting his Verses to the Greeks Portrait of Danton Portrait Assumed to be of Jean-Baptiste-Robert Lindet Portrait de Dubois-Crancé Portrait of an Unknown Man, Possibly Saint-Estève, or a Self-Portrait Portrait of a Revolutionary Nude Soldiers Gesticulating with their Weapons, Study for ‘the Sabines’ Cardinal Pacca The Arrival at the Hôtel de Ville Napoleon Holding Josephine’s Crown Nude study of Pope Pius VII The Empress Josephine Kneeling with Mme de la Rochefoucauld and Mme de la Valette Study for the Distribution of the Eagle Standards Apelles Painting Campaspe Leonidas at Thermopylae Study of a Woman Resting her Head Study of Two Women Bust-Length Telemachus and Eucharis The Death of Marat Two Dancers and a Flutist, Bust Length Composition with Three Figures Study of the Head of a Sleeping Woman Portrait of Ignace-Eugène-Marie Degotti Head of Woman wearing an Antique Diadem

Sorrow 1773 Coloured chalks on paper, 535 x 410 mm École Nationale Supérieure des Beaux-Arts, Paris

The Combat of Diomedes 1776 Albertina - Vienna Pen and ink drawing

View of the Tiber and Castel St Angelo 1776-77 Grey wash over black chalk, 166 x 220 mm Musée du Louvre, Paris

Minerva 1776-77 Pen, ink and wash, 212 x 150 mm Musée du Louvre, Paris

A Young Woman of Frascati 1775-1776 Metropolitan Museum of Art - New York, NY Drawing, chalk

Alexander Ordering the Books of Homer to be Preserved 1775-1780 Private collection Pen and ink drawing

Augustus Forbidding the Burning of Virgil’s Aeneid 1775-1780 Private collection Pen and ink drawing

The Death of Pentheus 1775-1780 Private collection Pen and ink drawing

Fanciful View of the Forum, with the Arch of Septimus Severus 1775-1780 National Gallery of Canada - Ottawa Pen and ink drawing

Horseman and Soldier, after Mola 1775-1780 Private collection Drawing, chalk

Two Roman Altars with the Epitaphs D. I. S. Manibus 1775-1780 Private collection Pen and ink drawing

View of Along the Tiber with Castel Sant’Angelo 1775-1780 Private collection Pen and ink drawing

View of Rome with the Senatorial Palaces and the Pyramid of Cestius 1775-1780 Private collection Pen and ink drawing

The Death of Camilla 1781 Metropolitan Museum of Art - New York, NY Drawing, chalk

The Death of Socrates 1782 Metropolitan Museum of Art - New York, NY Drawing, chalk

Elder Horatius Defending his Son (first version) 1782 Private collection Pen and ink drawing

Elder Horatius Defending his Son (second version) 1782 Musée du Louvre Pen and ink drawing

The Grief of Andromache 1782 Musée du Petit Palais (Paris) Pen and ink drawing

Andromache Mourning Hector 1783 Private collection Drawing, chalk

The Ghost of Septimus Severus Appearing to Caracalla, after the Murder of his Brother Geta 1783 Private collection Pen and ink drawing

Portrait of Jeanne-Suzanne Sedaine 1783 Musée du Louvre Drawing, chalk

The Death of Socrates 1786 Private collection Pen and ink drawing

Study for the Execution of the Sons of Brutus 1785-1786 Pierpont Morgan Library Drawing, chalk

The Three Horatii Brothers 1785 Black chalk, wash and white highlights, 580 x 450 mm Musée Bonnat, Bayonne

The Lictors Bringing Brutus the Bodies of his Sons 1787 Metropolitan Museum of Art - New York, NY Drawing, chalk

Brutus 1790 Black chalk, 223 x 186 mm Private collection

Study after Michelangelo 1790 Black chalk, 180 x 110 mm Musée du Louvre, Paris

View of the Interior of the Tennis Court 1790-91 Black chalk, 125 x 192 mm (each page) Musée National du Château, Versailles

Allegory of the Revolution in Nantes 1790 Musée des Beaux-Arts de Nantes Pen and ink drawing

Deputies Swearing Oaths 1791 Château de Versailles Pen and ink drawing

The Tennis Court Oath 1791 Château de Versailles Pen and ink drawing

Louis XVI Showing the Constitution to his Son, the Dauphin 1792 Graphite, 180 x 110 mm Musée du Louvre, Paris

Allegory of the French People Offering the Crown and Sceptre to the King 1792 Graphite, 180 x 110 mm Musée du Louvre, Paris

The English Government 1794 Hand coloured etching, 248 x 392 mm Bibliothčque Nationale, Paris

Woman in a Turban 1794 Pen and brown ink, 370 x 260 mm Private collection

Portrait of Jeanbon Saint-André 1795 Pen, black ink, wash and white highlights Art Institute, Chicago

Head of Dead Marat 1793 Château de Versailles Pen and ink drawing

Marie Antoinette on the Way to the Guillotine 1793 Musée du Louvre Pen and ink drawing

Homer Reciting his Verses to the Greeks 1794 Musée du Louvre Drawing, chalk

Portrait of Danton 1794 Private collection Pen and ink drawing

Portrait Assumed to be of Jean-Baptiste-Robert Lindet 1795 National Gallery of Canada - Ottawa Pen and ink drawing

Portrait de Dubois-Crancé 1795 Musée du Louvre Pen and ink drawing

Portrait of an Unknown Man, Possibly Saint-Estève, or a Self-Portrait 1795 Private collection Pen and ink drawing

Portrait of a Revolutionary 1795 Private collection Pen and ink drawing

Nude Soldiers Gesticulating with their Weapons, Study for ‘the Sabines’ 1797-1799 Private collection Drawing, chalk

Cardinal Pacca 1804-1807 Metropolitan Museum of Art - New York, NY Drawing, chalk

The Arrival at the Hôtel de Ville 1805 Pen, brown and black ink with white highlights, 262 x 408 mm Musée du Louvre, Paris

Napoleon Holding Josephine’s Crown 1805 Black crayon, 293 x 253 mm Musée du Louvre, Paris

Nude study of Pope Pius VII 1805 Black crayon over graphite, 293 x 253 mm Musée du Louvre, Paris

The Empress Josephine Kneeling with Mme de la Rochefoucauld and Mme de la Valette 1806 Black crayon and graphite, 274 x 391 mm Musée du Louvre, Paris

Study for the Distribution of the Eagle Standards 1808 Pen, black ink, grey wash and white highlights, 181 x 290 mm Musée du Louvre, Paris

Apelles Painting Campaspe 1813 Private collection Pen and ink drawing

Leonidas at Thermopylae 1814 Metropolitan Museum of Art - New York, NY Drawing, chalk

Study of a Woman Resting her Head 1815 Private collection Drawing, chalk

Study of Two Women Bust-Length 1817 Private collection Drawing, graphite

Telemachus and Eucharis 1819 Private collection

The Death of Marat 1817-1820 Private collection Drawing, graphite

Two Dancers and a Flutist, Bust Length 1816-1820 Private collection Drawing, chalk

Composition with Three Figures 1821 Private collection Drawing, chalk

Study of the Head of a Sleeping Woman 1819-1823 Private collection Drawing, chalk

Portrait of Ignace-Eugène-Marie Degotti 1815-1825 Private collection Drawing, chalk

Head of Woman wearing an Antique Diadem Private collection Drawing, chalk

Study of a Pyramid Metropolitan Museum of Art - New York, NY Drawing, graphite

The Biography

Self Portrait of David, 1791

Brief Biography: Jacques-Louis David

From ‘1911 Encyclopædia Britannica, Volume 7’ JACQUES LOUIS DAVID (1748–1825), French painter, was born in Paris on the 30th of April 1748. His father was killed in a duel, when the boy was but nine years old. His education was begun at the Collège des Quatre Nations, where he obtained a smattering of the classics; but, his artistic talent being already obvious, he was soon placed by his guardian in the studio of François Boucher. Boucher speedily realized that his own erotic style did not suit the lad’s genius, and recommended him to J. M. Vien, the pioneer of the classical reaction in painting. Under him David studied for some years, and, after several attempts to win the prix de Rome, at last succeeded in 1775, with his “Loves of Antiochus and Stratonice.” Vien, who had just been appointed director of the French Academy at Rome, carried the youth with him to that city. The classical reaction was now in full tide; Winckelmann was writing, Raphael Mengs painting; and the treasures of the Vatican galleries helped to confirm David in a taste already moulded by so many kindred influences. This severely classical spirit inspired his first important painting, “Date obolum Belisario,” exhibited at Paris in 178O. The picture exactly suited the temper of the times, and was an immense success. It was followed by others, painted on the same principles, but with greater perfection of art: “The Grief of Andromache” (1783), “The Oath of the Horatii” (Salon, 1785), “The Death of Socrates,” “Love of Paris and Helen” (1788), “Brutus” (1789). In the French drama an unimaginative imitation of ancient models had long prevailed; even in art Poussin and Le Sueur were successful by expressing a bias in the same direction; and in the first years of the revolutionary movement the fashion of imitating the ancients even in dress and manners went to the most extravagant length. At this very time David returned to Paris; he was now painter to the king, Louis XVI., who had been the purchaser of his principal works, and his popularity was soon immense. At the outbreak of the Revolution in 1789, David was carried away by the flood of enthusiasm that made all the intellect of France believe in a new era of equality and emancipation from all the ills of life. The success of his sketch for the picture of the “Oath of the Tennis Court,” and his pronounced republicanism, secured David’s election to the Convention

in September 1792, by the Section du Muséum, and he quickly distinguished himself by the defence of two French artists in Rome who had fallen into the merciless hands of the Inquisition. As, in this matter, the behaviour of the authorities of the French Academy in Rome had been dictated by the tradition of subservience to authority, he used his influence to get it suppressed. In the January following his election into the Convention his vote was given for the king’s death. Thus the man who was so greatly indebted to the Roman academy and to Louis XVI. assisted in the destruction of both, no doubt in obedience to a principle, like the act of Brutus in condemning his sons — a subject he painted with all his powers. Cato and stoicism were the order of the day. Hitherto the actor had walked the stage in modern dress. Brutus had been applauded in redheeled shoes and culottes jarretées; but Talma, advised by David, appeared in toga and sandals before an enthusiastic audience. At this period of his life Mademoiselle de Noailles persuaded him to paint a sacred subject, with Christ as the hero. When the picture was done, the Saviour was found to be another Cato. “I told you so,” he replied to the expostulations of the lady, “there is no inspiration in Christianity now!” David’s revolutionary ideas, which led to his election to the presidency of the Convention and to the committee of general security, inspired his pictures “Last Moments of Lepelletier de Saint-Fargeau” and “Marat Assassinated.” He also arranged the programme of the principal republican festivals. When Napoleon rose to power David became his enthusiastic admirer. His picture of Napoleon on horseback pointing the way to Italy is now in Berlin. During this period he also painted the “Rape of the Sabines” and “Leonidas at Thermopylae.” Appointed painter to the emperor, David produced the two notable pictures “The Coronation” (of Josephine) and the “Distribution of the Eagles.” On the return of the Bourbons the painter was exiled with the other remaining regicides, and retired to Brussels, where he again returned to classical subjects: “Amor quitting Psyche,” “Mars disarmed by Venus,” &c. He rejected the offer, made through Baron Humboldt, of the office of minister of fine arts at Berlin, and remained at Brussels till his death on the 29th of December 1825. His end was true to his whole career and to his nationality. While dying, a print of the Leonidas, one of his favourite subjects, was submitted to him. After vaguely looking at it a long time, “Il n’y a que moi qui pouvais concevoir la tête de Léonidas,” he whispered, and died. His friends and his party thought to carry the body back to his beloved Paris for burial, but the government of the day arrested the procession at the frontier, an act which caused some scandal, and furnished the occasion of a terrible song of Béranger’s.

It is difficult for a generation which has witnessed another complete revolution in the standards of artistic taste to realize the secret of David’s immense popularity in his own day. His style is severely academic, his colour lacking in richness and warmth, his execution hard and uninteresting in its very perfection. Subjects and treatment alike are inspired by the passing fashion of an age which had deceived itself into believing that it was living and moving in the spirit of classical antiquity. The inevitable reaction of the romantic movement made the masterpieces, which had filled the men of the Revolution with enthusiasm, seem cold and lifeless to those who had been taught to expect in art that atmosphere of mystery which in nature is everywhere present. Yet David was a great artist, and exercised in his day and generation a great influence. His pictures are magnificent in their composition and their draughtsmanship; and his keen observation and insight into character are evident, especially in his portraits, notably of Madame Récamier, of the Conventional Gérard and of Boissy d’Anglas. See E. J. Delécluze, Louis David, son école et son temps (Paris, 1855), and Le Peintre Louis David. Souvenirs et documents inédits, by J. L. Jules David, the painter’s grandson (Paris, 1880).

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Series One Anton Chekhov Charles Dickens D.H. Lawrence Dickensiana Volume I Edgar Allan Poe Elizabeth Gaskell Fyodor Dostoyevsky George Eliot H. G. Wells Henry James Ivan Turgenev Jack London James Joyce Jane Austen Joseph Conrad Leo Tolstoy Louisa May Alcott Mark Twain Oscar Wilde Robert Louis Stevenson Sir Arthur Conan Doyle Sir Walter Scott The Brontës Thomas Hardy Virginia Woolf

Wilkie Collins

William Makepeace Thackeray

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Series Three Ambrose Bierce Ann Radcliffe

Ben Jonson Charles Lever Émile Zola Ford Madox Ford Geoffrey Chaucer George Gissing George Orwell Guy de Maupassant H. P. Lovecraft Henrik Ibsen Henry David Thoreau Henry Fielding J. M. Barrie James Fenimore Cooper John Buchan John Galsworthy Jonathan Swift Kate Chopin Katherine Mansfield L. M. Montgomery Laurence Sterne Mary Shelley Sheridan Le Fanu

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Maria Edgeworth M. E. Braddon Miguel de Cervantes M. R. James R. M. Ballantyne Robert E. Howard Samuel Johnson Stendhal Stephen Crane

Zane Grey

Series Five Algernon Blackwood Anatole France Beaumont and Fletcher Charles Darwin Edward Bulwer-Lytton Edward Gibbon E. F. Benson Frances Hodgson Burnett Friedrich Nietzsche George Bernard Shaw George MacDonald Hilaire Belloc John Bunyan John Webster Margaret Oliphant Maxim Gorky Oliver Goldsmith Radclyffe Hall Robert W. Chambers Samuel Butler Samuel Richardson Sir Thomas Malory Thomas Carlyle William Harrison Ainsworth

William Dean Howells

William Morris

Series Six Anthony Hope Aphra Behn Arthur Morrison Baroness Emma Orczy Captain Mayne Reid Charlotte M. Yonge Charlotte Perkins Gilman E. W. Hornung Ellen Wood Frances Burney Frank Norris Frank R. Stockton Hall Caine Horace Walpole One Thousand and One Nights R. Austin Freeman Rafael Sabatini Saki Samuel Pepys Sir Issac Newton Stanley J. Weyman Thomas De Quincey Thomas Middleton Voltaire William Hazlitt

William Hope Hodgson

Series Seven Adam Smith Benjamin Disraeli Confucius

David Hume E. M. Delafield E. Phillips Oppenheim Edmund Burke Ernest Hemingway Frances Trollope Galileo Galilei Guy Boothby Hans Christian Andersen Ian Fleming Immanuel Kant Karl Marx Kenneth Grahame Lytton Strachey Mary Wollstonecraft Michel de Montaigne René Descartes Richard Marsh Sax Rohmer Sir Richard Burton Talbot Mundy Thomas Babington Macaulay

W. W. Jacobs

Series Eight Anna Katharine Green Arthur Schopenhauer The Brothers Grimm C. S. Lewis Charles and Mary Lamb Elizabeth von Arnim Ernest Bramah Francis Bacon Gilbert and Sullivan Grant Allen Henryk Sienkiewicz Hugh Walpole Jean-Jacques Rousseau John Locke John Muir Joseph Addison Lafcadio Hearn

Lord Dunsany Marie Corelli Niccolò Machiavelli Ouida Richard Brinsley Sheridan Sigmund Freud Theodore Dreiser Walter Pater

W. Somerset Maugham

Series Nine Aldous Huxley August Strindberg Booth Tarkington C. S. Forester Erasmus Eugene Sue Fergus Hume Franz Kafka Gertrude Stein Giovanni Boccaccio Izaak Walton J. M. Synge Johanna Spyri John Galt Maurice Leblanc Max Brand Molière Norse Sagas R. D. Blackmore R. S. Surtees Sir Thomas More Stephen Leaco*ck The Harvard Classics Thomas Love Peaco*ck Thomas Paine William James

Ancient Classics Achilles Tatius Aeschylus Ammianus Marcellinus Apollodorus Appian Apuleius Apollonius of Rhodes Aristophanes Aristotle Arrian Athenaeus Augustine Aulus Gellius Bede Cassius Dio

Cato Catullus Cicero Claudian Clement of Alexandria Cornelius Nepos Demosthenes Dio Chrysostom Diodorus Siculus Dionysius of Halicarnassus Diogenes Laërtius Euripides Frontius Herodotus Hesiod Hippocrates Homer Horace Isocrates Josephus Julian Julius Caesar Juvenal Livy Longus Lucan Lucian Lucretius Marcus Aurelius Martial Nonnus Ovid Pausanias Petronius Pindar Plato Plautus Pliny the Elder Pliny the Younger Plotinus Plutarch Polybius Procopius Propertius Quintus Curtius Rufus Quintus Smyrnaeus Sallust Sappho Seneca the Younger Septuagint

Sextus Empiricus Sidonius Sophocles Statius Strabo Suetonius Tacitus Terence Theocritus Thucydides Tibullus Varro Virgil

Xenophon

Delphi Poets Series A. E. Housman Alexander Pope Alfred, Lord Tennyson Algernon Charles Swinburne Andrew Marvell Beowulf Charlotte Smith Christina Rossetti D. H Lawrence (poetry) Dante Alighieri (English) Dante Gabriel Rossetti Delphi Poetry Anthology Edgar Allan Poe (poetry) Edmund Spenser Edward Lear Edward Thomas Edwin Arlington Robinson Ella Wheeler Wilcox Elizabeth Barrett Browning Emily Dickinson Epic of Gilgamesh Ezra Pound Friedrich Schiller (English) George Chapman George Herbert Gerard Manley Hopkins

Gertrude Stein Hafez Heinrich Heine Henry Howard, Earl of Surrey Henry Wadsworth Longfellow Isaac Rosenberg James Russell Lowell Johan Ludvig Runeberg John Clare John Donne John Dryden John Gower John Keats John Milton John Wilmot, Earl of Rochester Joseph Addison Kahlil Gibran Leigh Hunt Lord Byron Ludovico Ariosto Luís de Camões Matthew Arnold Matthew Prior Michael Drayton Nikolai Nekrasov Paul Laurence Dunbar Percy Bysshe Shelley Petrarch Ralph Waldo Emerson Robert Browning Robert Burns Robert Frost Robert Southey Rumi Rupert Brooke Samuel Taylor Coleridge Sir Philip Sidney Sir Thomas Wyatt Sir Walter Raleigh Thomas Chatterton Thomas Gray Thomas Hardy (poetry) Thomas Hood Thomas Moore Torquato Tasso T. S. Eliot W. B. Yeats Walter Savage Landor Walt Whitman Wilfred Owen

William Blake William Cowper

William Wordsworth

Masters of Art Albrecht Dürer Amedeo Modigliani Artemisia Gentileschi Camille Pissarro Canaletto Caravaggio Caspar David Friedrich Claude Lorrain Claude Monet Dante Gabriel Rossetti Diego Velázquez Donatello Edgar Degas Édouard Manet Edvard Munch El Greco Eugène Delacroix Francisco Goya Giotto Giovanni Bellini Gustave Courbet Gustav Klimt Hieronymus Bosch Jacques-Louis David James Abbott McNeill Whistler J. M. W. Turner Johannes Vermeer John Constable Leonardo da Vinci Michelangelo Paul Cézanne Paul Gauguin Paul Klee Peter Paul Rubens Piero della Francesca Pierre-Auguste Renoir Pieter Bruegel the Elder

Sandro Botticelli Raphael Rembrandt van Rijn Thomas Gainsborough Tintoretto Titian Vincent van Gogh

Wassily Kandinsky

Great Composers Antonín Dvořák Franz Schubert Johann Sebastian Bach Joseph Haydn Ludwig van Beethoven Piotr Illitch Tchaïkovsky Richard Wagner Wolfgang Amadeus Mozart

Alphabetical List of Titles

A. E. Housman Achilles Tatius Adam Smith Aeschylus Albrecht Dürer Aldous Huxley Alexander Pope Alexander Pushkin Alexandre Dumas (English) Alfred, Lord Tennyson Algernon Blackwood Algernon Charles Swinburne Ambrose Bierce Amedeo Modigliani Ammianus Marcellinus Anatole France Andrew Lang Andrew Marvell Ann Radcliffe Anna Katharine Green Anthony Hope Anthony Trollope Anton Chekhov Antonín Dvořák Aphra Behn Apollodorus Apollonius of Rhodes Appian Apuleius Aristophanes Aristotle Arnold Bennett Arrian Artemisia Gentileschi Arthur Machen Arthur Morrison Arthur Schopenhauer Athenaeus August Strindberg Augustine Aulus Gellius Baroness Emma Orczy

Beatrix Potter Beaumont and Fletcher Bede Ben Jonson Benjamin Disraeli Beowulf Booth Tarkington Bram Stoker Bret Harte C. S. Forester C. S. Lewis Camille Pissarro Canaletto Captain Frederick Marryat Captain Mayne Reid Caravaggio Caspar David Friedrich Cassius Dio Cato Catullus Charles and Mary Lamb Charles Darwin Charles Dickens Charles Kingsley Charles Lever Charles Reade Charlotte M. Yonge Charlotte Perkins Gilman Charlotte Smith Christina Rossetti Christopher Marlowe Cicero Claude Lorrain Claude Monet Claudian Clement of Alexandria Confucius Cornelius Nepos D. H Lawrence (poetry) D.H. Lawrence Daniel Defoe Dante Alighieri (English) Dante Gabriel Rossetti Dante Gabriel Rossetti David Hume Delphi Poetry Anthology Demosthenes Dickensiana Volume I Diego Velázquez Dio Chrysostom Diodorus Siculus Diogenes Laërtius Dionysius of Halicarnassus Donatello E. F. Benson E. M. Delafield E. M. Forster E. Nesbit

E. Phillips Oppenheim E. W. Hornung Edgar Allan Poe Edgar Allan Poe (poetry) Edgar Degas Edgar Rice Burroughs Edgar Wallace Edith Wharton Edmund Burke Edmund Spenser Édouard Manet Edvard Munch Edward Bulwer-Lytton Edward Gibbon Edward Lear Edward Thomas Edwin Arlington Robinson El Greco Elizabeth Barrett Browning Elizabeth Gaskell Elizabeth von Arnim Ella Wheeler Wilcox Ellen Wood Émile Zola Emily Dickinson Epic of Gilgamesh Erasmus Ernest Bramah Ernest Hemingway Eugène Delacroix Eugene Sue Euripides Ezra Pound F. Scott Fitzgerald Fergus Hume Ford Madox Ford Frances Burney Frances Hodgson Burnett Frances Trollope Francis Bacon Francisco Goya Frank Norris Frank R. Stockton Franz Kafka Franz Schubert Friedrich Nietzsche Friedrich Schiller (English) Frontius Fyodor Dostoyevsky G. A. Henty G. K. Chesterton Galileo Galilei Geoffrey Chaucer George Bernard Shaw

George Chapman George Eliot George Gissing George Herbert George MacDonald George Meredith George Orwell Gerard Manley Hopkins Gertrude Stein Gertrude Stein Gilbert and Sullivan Giotto Giovanni Bellini Giovanni Boccaccio Grant Allen Gustav Klimt Gustave Courbet Gustave Flaubert (English) Guy Boothby Guy de Maupassant H. G. Wells H. P. Lovecraft H. Rider Haggard Hafez Hall Caine Hans Christian Andersen Harriet Beecher Stowe Heinrich Heine Henrik Ibsen Henry David Thoreau Henry Fielding Henry Howard, Earl of Surrey Henry James Henry Wadsworth Longfellow Henryk Sienkiewicz Herman Melville Herodotus Hesiod Hieronymus Bosch Hilaire Belloc Hippocrates Homer Honoré de Balzac (English) Horace Horace Walpole Hugh Walpole Ian Fleming Immanuel Kant Isaac Rosenberg Isocrates Ivan Turgenev Izaak Walton J. M. Barrie J. M. Synge J. M. W. Turner

J. W. von Goethe (English) Jack London Jacques-Louis David James Abbott McNeill Whistler James Fenimore Cooper James Joyce James Russell Lowell Jane Austen Jean-Jacques Rousseau Jerome K. Jerome Johan Ludvig Runeberg Johann Sebastian Bach Johanna Spyri Johannes Vermeer John Buchan John Bunyan John Clare John Constable John Donne John Dryden John Galsworthy John Galt John Gower John Keats John Locke John Milton John Muir John Ruskin John Webster John Wilmot, Earl of Rochester Jonathan Swift Joseph Addison Joseph Addison Joseph Conrad Joseph Haydn Josephus Jules Verne Julian Julius Caesar Juvenal Kahlil Gibran Karl Marx Kate Chopin Katherine Mansfield Kenneth Grahame L. Frank Baum L. M. Montgomery Lafcadio Hearn Laurence Sterne Leigh Hunt Leo Tolstoy Leonardo da Vinci Lewis Carroll Livy Longus

Lord Byron Lord Dunsany Louisa May Alcott Lucan Lucian Lucretius Ludovico Ariosto Ludwig van Beethoven Luís de Camões Lytton Strachey M. E. Braddon M. R. James Marcel Proust (English) Marcus Aurelius Margaret Oliphant Maria Edgeworth Marie Corelli Mark Twain Martial Mary Shelley Mary Wollstonecraft Matthew Arnold Matthew Prior Maurice Leblanc Max Brand Maxim Gorky Michael Drayton Michel de Montaigne Michelangelo Miguel de Cervantes Molière Nathaniel Hawthorne Niccolò Machiavelli Nikolai Gogol Nikolai Nekrasov Nonnus Norse Sagas O. Henry Oliver Goldsmith One Thousand and One Nights Oscar Wilde Ouida Ovid Paul Cézanne Paul Gauguin Paul Klee Paul Laurence Dunbar Pausanias Percy Bysshe Shelley Peter Paul Rubens Petrarch

Petronius Piero della Francesca Pierre-Auguste Renoir Pieter Bruegel the Elder Pindar Piotr Illitch Tchaïkovsky Plato Plautus Pliny the Elder Pliny the Younger Plotinus Plutarch Polybius Procopius Propertius Quintus Curtius Rufus Quintus Smyrnaeus R. Austin Freeman R. D. Blackmore R. M. Ballantyne R. S. Surtees Radclyffe Hall Rafael Sabatini Ralph Waldo Emerson Raphael Rembrandt van Rijn René Descartes Richard Brinsley Sheridan Richard Marsh Richard Wagner Robert Browning Robert Burns Robert E. Howard Robert Frost Robert Louis Stevenson Robert Southey Robert W. Chambers Rudyard Kipling Rumi Rupert Brooke Saki Sallust Samuel Butler Samuel Johnson Samuel Pepys Samuel Richardson Samuel Taylor Coleridge Sandro Botticelli Sappho Sax Rohmer Seneca the Younger Septuagint Sextus Empiricus Sheridan Le Fanu Sidonius Sigmund Freud

Sir Arthur Conan Doyle Sir Issac Newton Sir Philip Sidney Sir Richard Burton Sir Thomas Malory Sir Thomas More Sir Thomas Wyatt Sir Walter Raleigh Sir Walter Scott Sophocles Stanley J. Weyman Statius Stendhal Stephen Crane Stephen Leaco*ck Strabo Suetonius T. S. Eliot Tacitus Talbot Mundy Terence The Brontës The Brothers Grimm The Harvard Classics Theocritus Theodore Dreiser Thomas Babington Macaulay Thomas Carlyle Thomas Chatterton Thomas De Quincey Thomas Gainsborough Thomas Gray Thomas Hardy Thomas Hardy (poetry) Thomas Hood Thomas Love Peaco*ck Thomas Middleton Thomas Moore Thomas Paine Thucydides Tibullus Tintoretto Titian Tobias Smollett Torquato Tasso Varro Victor Hugo Vincent van Gogh Virgil Virginia Woolf Voltaire W. B. Yeats

W. Somerset Maugham W. W. Jacobs Walt Whitman Walter Pater Walter Savage Landor Washington Irving Wassily Kandinsky Wilfred Owen Wilkie Collins William Blake William Cowper William Dean Howells William Harrison Ainsworth William Hazlitt William Hope Hodgson William James William Makepeace Thackeray William Morris William Shakespeare William Wordsworth Wolfgang Amadeus Mozart Xenophon Zane Grey

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Death mask of Jacques-Louis David, 1825

Cimetière de Bruxelles — David’s final resting place

David’s tomb

It is believed that David’s heart was buried with his wife at Père Lachaise, the largest cemetery in Paris.

Delphi Complete Works of Jacques-Louis David (Illustrated) ( PDFDrive ) Flipbook PDF - PDF Free Download (2024)

References