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Item No: 25234
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| Keywords: Oath Of The Horatii, Arch, Man, Helmet, Woman, Sword, Romantic, Neoclassical, French, History, Literary, Romans, Figures, Men, Soldiers, Centurions, Wives, Women, Swords, Architecture, Red, Brown, Oil, Painting, Masters, Jacqueslouis, David, Romantic, Movement, |
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David, Jacques Louis (1748-1825)
Jacques Louis David was born in Paris and first studied painting with Boucher, whose influence can be seen in his work until 1770.
David went to Italy in 1775 for five years, studying the works of Caravaggio and other seventeenth-century Italian Baroque artists. David also studied antique sculpture and ancient history and began to choose his subjects from the latter. The resultant paintings became the manifesto of Neo-classicism. The Oath of the Horatii was painted in 1784-85 on a second visit to Rome. In this and in his next great work, The Death of Socrates, painted in Paris with figures inspired by classical statues and composition taken from Roman bas-reliefs, David added sharp lighting that casts clear shadows, and realistic detail.
David's art, embodying the ancient civic virtues, became the symbol of the Revolution. The artist was also active in the politics of the French Revolution and from 1787 was the arbiter of taste and design in furniture, clothing, and the stage, as actors began to pose in groups similar to those in his paintings. He brought about the downfall of the French Royal Academy, thus freeing artists from narrow tradition. He taught more than sixty pupils and was imitated by scores of artists. In 1793, David painted the realistic Death of Marat, a powerful painting closer to Caravaggio than to antique sculpture and in 1794, while briefly imprisoned, he did a naturalistic landscape view of the Luxembourg Gardens.
An enthusiastic Bonapartist, David became first painter to the Emperor, an officer in the Legion of Honour, and a member of the Institute. With the restoration of the Bourbons, he was banished to Belgium for having voted for the death of Louis XVI and it was there that he died. David's strong sculptural painting replaced the delicate and artificial style of the eighteenth century. He was an important force in the evolution of modern painting. |
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