Jean Louis David artist biography. Assignments to the text
Jacques-Louis David(Jacques-Louis David) - bright representative French classicism in painting. He came from the family of a wholesale iron merchant, but thanks to the influence of his relatives who were architects, he began to try his hand at painting.
At a young age, Jacques-Louis David was trained by a representative artistic culture Rococo Francois Boucher. But after studying in Rome, he succumbed to the influence of art ancient empire and began to work in an epic manner. This played its part positive role in the fate of the artist. At 80 years XVIII centuries in France, freedom-loving ideals and ideas were central. And when David returned to his homeland, he immediately found himself at the head of a movement that aimed to express all these ideals in a heroic form, combining them with the “liberties” of Rococo. During this period, he created truly epic paintings that glorified heroism and self-sacrifice.
The painting “The Oath of the Horatii,” painted in 1784, brought fame to Jacques-Louis. The plot of the canvas is a scene from a Roman legend. According to legend, a dispute broke out between two warring cities - Rome and Alba Longa, and three brothers from one city went to fight three brothers from another. The Horatii, brothers from Rome, defeated the Curiatii, after which an alliance was created between the two cities. The artist depicted how three brothers give a sacred oath to their father, who blesses them for the duel.
Jacques-Louis shared the ideas of the Great French Revolution. He took an active part in political life, was the organizer of mass folk festivals, and also created the National Museum in the Louvre. He was such a prominent personality that in 1804 he was appointed "first artist" by Napoleon. David glorified the emperor in a number of paintings, moving from classicism to romanticism.
But after the return of the Bourbons, the artist had to leave for Brussels. A funny and tragic fact is that the daughter of the aristocrat Lepeletier, being an ardent royalist, bought all the reproductions of “Lepeletier de Saint-Fargeau on her deathbed” and destroyed them. The reason for this action was the fact that David cast the decisive vote for the execution of the king. Having destroyed all the reproductions, the young aristocrat got to the original. She spent a lot of money to buy it from the artist's son, and then burned the original. Only one reproduction of a student of Jacques-Louis accidentally escaped the attention of the fanatical girl, and thanks to this we know what the canvas looked like.
All the paintings of the French painter breathe pathos and the epic scope of the actions taking place on the canvas. As an example, we can refer to the painting “The Sabine Women Stopping the Battle between the Romans and the Sabines,” painted in 1799. The name itself speaks volumes about what Jacques-Louis David portrayed.
Women, hoping to stop the battle, bring their children to the center of the battle, blocking the warring parties with them. Central female character becomes Hersilia, wife of Romulus. She stood between her father and her husband, who had already raised his spear, trying to hit his father.
The artist celebrates strength and beauty human body and praises the courage of the women, depicting in detail their emotions and the horror that drove them to such a desperate act.
Antique motifs, so skillfully embodied by David in painting, delight us to this day, allowing us to return to those distant times and immerse ourselves in the epic battles of ancient peoples.
The artist, who in his works reflected all stages of the political life of France, was also a bright public figure, actively participating in revolutionary movement. The founder of neoclassicism was sensitive to all changes occurring in society, and the direction in painting that he laid down was continued to be developed by new generations of masters.
Brief biography of the creator
The great Jacques Louis David, whose paintings brought him fame, was born in Paris in 1748. At the age of 18, he entered the Academy of Arts, where his mentor was Joseph Marie Vien, a famous painter at that time, now unfairly forgotten. He instills in the young man a love of classicism and rococo and demands the achievement of “truth and greatness” in his works. David, who carefully studies the works of Michelangelo and Raphael, dreams of being in Italy to improve his skills in the cradle of Renaissance art. Awarded as best student academies, young artist in 1775 he went to a country with a rich culture.
In Italy, he communicates with lovers of antiquity, who introduce him to great masterpieces, and the admiring painter, admiring the talent of brilliant sculptors and artists, admits that “it was as if a veil had fallen from his eyes.” Jacques Louis does not try to imitate the works of ancient masters, but is looking for his own path: “I understand how imperfect my style is, and I am ready to go through a lot to get closer to the truth. I need to strive to reach Raphael’s level.”
Artist and revolutionary
Returning to France, Jacques Louis David, who critically evaluates his work, whose paintings cause controversial opinions in society, actively participates in the revolutionary movement. He joins the radicals Robespierre and Marat, votes for the death of the king and then ends up in prison for his views.
When Napoleon comes to power, the former revolutionary takes an active part in political life and becomes an ardent admirer of the emperor, making him the first artist of France and court painter. After the overthrow of Bonaparte, Jacques Louis fled to Brussels, where he died in 1825, leaving behind about 500 students.
Expressions of the author's views
The creator's art evolved along with his style and expressed aesthetic views artist. He conveyed the essence of ideals in his paintings Ancient Rome and Greece, telling stories of self-sacrifice and virtue. The artist abandoned complex angles, an excess of details that distracted from the essence of the work, and a picturesque background. As if leading to theater stage his characters, directed at them bright light the famous Jacques Louis David.
Pictures, ideas of which for a long time nurtured by the creator, appeared in peace and quiet, far from the bustle of people. All ancient images were not detached heroes for the painter, and the choice of subjects was not subject to fashion trends.
A work that became a turning point in the master’s work
It is interesting to talk about paintings, the creator of which personally participated in revolutionary actions, and in his works one can see not only the ideological justification for the events taking place, but also the sacrifice that the rebels paid. What did Jacques Louis David, who saw with his own eyes the overthrow of the old foundations, want to tell?
The painting “The Oath of the Horatii” appeared in 1784 and marked the beginning of a new style - revolutionary classicism. It brought unprecedented success to the author, who uses many techniques characteristic of the movement.
Background of the bloody battle
The artist talks about what preceded the historical battle that took place between the brothers Horatii from Rome and the Curiatii from Alba Longa, the main city of the Italian Union, which was losing its influence.
The two settlements fought for leadership, but such civil strife could not last long. According to historians, the winning city had to be decided after decisive battle valiant warriors. In the bloody battle, one of the Horatii brothers survived, and Alba Longa submitted to all the demands of Rome. Having learned about the historical battle, Jacques Louis David decided to convey the feeling of patriotism of the young people.
“Oath of the Horatii”: description of the painting
The author captured the very moment when a father blesses his children for a mortal battle, holding out swords to them. Three brothers, whose thoughts are devoid of doubts and contradictions, vow to protect their homeland. They realize that they may die, but they enter the battle, believing in the triumph of justice. It is interesting that the opponents of the Romans are their childhood friends, but this fact did not prevent the Horaces from dealing with them. The great genius Jacques Louis David, whose description of his paintings makes it clear to the viewer what an incredible talent he possessed, to the right of the courageous warriors depicted a group of grieving women who understand the inevitability of the loss of loved ones.
The mother of the glorious heroes tenderly hugs her grandchildren, the sister of the brothers sits right there - the bride of one of the Albanians, bowing her head to the sister of the opponents - the wife of one of the Horatii. The artist showed not only his readiness for self-sacrifice, but also the personal experiences of desperate women. If the brothers and father are depicted as the main characters, then the mother and sisters are minor characters, complementing the composition.
In the background, Jacques Louis David, whose paintings reflect the values of the Enlightenment, placed three arches corresponding to groups of figures of brothers, women and a father presenting weapons to his sons.
Light is directed at the main characters to show their importance, and the background of the picture is shaded so as not to distract attention from the brothers ready for battle. Strong emotions suffering women show, and strict men only fulfill their duty.
Canvas that strengthens the human spirit
The line of heroic classicism continued new job painter, who appeared in 1787. It is necessary to talk about the unjustly sentenced death penalty philosopher, before making a description of the painting “The Death of Socrates”. Jacques Louis David became interested in fate ancient Greek hero, who drank poison with an unknown composition. The philosopher, who had made many enemies, and decided to accept his fate, was accused of “disrespecting the gods.”
On the canvas, Socrates addresses his students with a farewell speech. One hand is raised up, and the other reaches for the container with poison, but does not touch it. And this gesture is considered key, it creates the impression of time stopping and declares immortality human spirit, because the teacher, carried away by his speech, forgets that he has very little time left to live.
The solemnity of the scene is given by the characters, in whose movements and faces one can read a special grandeur, as well as their location along the front plane of the grandiose canvas, called brilliant. On the eve of the revolution, Jacques Louis David, whose paintings make everyone think about the eternal, tried to strengthen the spirit of the French with the example of the incredible fortitude of Socrates accepting death.
New time - new style
The artist not only wrote paintings on historical subjects, he created huge amount portraits that are kept in various museums. The founder of a new direction in art passed on his unique skills to his many students, however, the neoclassical style very quickly went out of fashion. After the overthrow of Napoleon, it was too reminiscent of the bloody events that took place in the history of France. It was replaced by a softer style, meeting the tastes of the new authorities, by David’s student, Jean Auguste Ingres.
In our article, we examined the biography and main paintings of Jacques Louis David (the recognized genius had no problems with the names - they clearly convey the essence of each work). One can only admire the unique talent of the genius, whose workshop became a real cradle
Jacques-Louis David
1748-1825
French painter and teacher, major representative of French neoclassicism
Joseph Vien
Francois Boucher
When the child's ability to draw was noticed, it was decided that he would become an architect, like both of his uncles.
David takes drawing lessons at the Academy of St. Luke, in 1764 his relatives introduce him to François Boucher in the hope that he will take Jacques-Louis as his student. However, due to the artist’s illness, this did not happen - nevertheless, he recommended that the young man begin studying with one of the leading masters historical painting early neoclassicism of Joseph Vienne.
Royal Academy of Painting and Sculpture
French Academy in Rome
Two years later, in 1766, David entered the Royal Academy of Painting and Sculpture, where he began to study in Vienne's workshop.
In 1775-1780 David studied at French Academy in Rome, where he studied antique art and the work of Renaissance masters.
Italy opened David's eyes to ancient world. David liked to associate his appeal to antiquity with the name of Raphael: “Oh, Raphael, divine man, you, who gradually raised me to antiquity... You gave me the opportunity to understand that antiquity is even higher than you.”
In 1771, David successfully participated in the competition for the Rome Prize with his painting “The Battle of Minerva with Mars.” The painting was painted in the spirit of the academic style of that time, however, the success of the painting did not provide David with the desired reward. Professor Vien, perhaps offended by the fact that the student spoke without first informing him, in order to pedagogical impact, rejected the award under the pretext “that for the first time, David can consider himself happy simply because his judges liked him.”
"Battle of Minerva with Mars"
Respectful to his elders, David kindly explained the professor’s action this way: “I think that Vien spoke so for my benefit, at least I cannot imagine any other purpose on the part of the teacher.”
"Antiochus, son of Seleucus, king of Syria.."
In 1774, David, for the painting “Antiochus, son of Seleucus, king of Syria, sick with the love with which he was imbued with Stratonice, his stepmother, the physician Erasistratus discovers the cause of the disease,” finally achieved the long-awaited reward, the news of the victory shocked him so much that he fainted and, having come to his senses, openly exclaimed: “My friends, for the first time in four years I breathed easily.”
In 1775 A trip to Italy is made, where he goes as a fellow of the Academy together with Vienne.
In David's head there were already creative ideas, in which he strived for such an ideal: “I want my works to bear the imprint of antiquity to such an extent that if one of the Athenians returned to the world, they would seem to him the work of Greek painters”
And already in the first picture, shown upon his return from Italy, “Belisarius, recognized by a soldier who served under his command, at the moment when a woman gives him alms,” he tried to implement his plan.
"Belisarius, recognized by a soldier.."
It is significant that David now takes no mythological story, but historical, although shrouded in legend. David's art style in this picture has already emerged quite clearly.
Portrait of Count Pototsky, the reason for painting the portrait was a life episode: in Naples, David witnessed how Pototsky pacified an unbroken horse. Let Pototsky’s gesture greeting the viewer be somewhat theatrical, but by the way specifically, with all the characteristic details, the artist conveyed the appearance of the person being portrayed, how he deliberately emphasized the carelessness of clothing, how he contrasted the calm and confidence of the rider with the hot, restless disposition of the horse, it is clear that the artist was not interested in the transfer of real reality in its living concreteness is alien. Since then, David’s work has been moving in two directions: historical paintings on antique themes the artist, in abstract images, strives to embody the ideals that worried pre-revolutionary France; on the other hand, he creates portraits in which he affirms the image of a real person.
"Oath of the Horatii"
In 1784, David wrote the “Oath of the Horatii” (Louvre), which was David’s first real triumph and which, undoubtedly, was one of the harbingers of the Revolution. In the Oath of the Horatii, David borrows a plot from ancient history, in order to implement advanced ideas of his time, namely: the idea of patriotism, the idea of citizenship. This picture, with its call to fight, to accomplish a civil feat, is one of the brightest manifestations of revolutionary classicism with all its stylistic features.
The portrait “Lavoisier and his Wife” (1788; New York, Rockefeller Institute) was painted in a slightly different manner. The beauty of linear contours, grace of gestures, grace, elegance and sophistication of images should convey the charming image of the scientist and his wife.
David in his portraits represents what he directly observes in reality and, perhaps even without wanting it, creates images of people who are satisfied with themselves, with their wealth and willingly flaunt it.
Revolutionary events gave a direct impetus further development creativity of David. Now patriotic themes there was no need to look at all in antiquity; heroism invades life itself. David begins to work on a work that captures the event that took place on June 20, 1789, when in the Ballroom the deputies took an oath “Under no circumstances will they disperse and gather wherever circumstances require until such time as a the constitution of the kingdom is established on sound foundations.”
Louis XVI
Actively participated in the revolutionary movement. In 1792, he was elected to the National Convention, where he joined the Montagnards led by Marat and Robespierre, and voted for the death of the king. Louis XVI. He was a member of the Committee of Public Security, in whose capacity he signed orders for the arrest of “enemies of the revolution.” Due to political differences at this time, he divorced his wife.
"The Ballroom Oath"
"The Death of Marat"
In an effort to perpetuate the events of the revolution, David painted a number of paintings dedicated to the revolutionaries: “The Oath in the Ballroom” (1791, unfinished), “The Death of Marat” (1793, Museum contemporary art, Brussels).
The task is to influence the feelings of the viewer, to give him a lesson in patriotism. But another tendency in David’s art was organically combined with this task: the desire for a specific, individual characteristic that was inherent in his portraits.
After the counter-revolutionary coup, David renounced Robespierre, but was still arrested and imprisoned. While in the Luxembourg prison, from its window he painted a poetic corner of the Luxembourg Gardens (1794; Louvre). Calm is spread throughout the landscape. And, on the contrary, in the self-portrait (1794; Louvre), also written in prison, and which remained unfinished, a completely different mood reigns.
You can read confusion and anxiety in David’s gaze. Anxious sentiments are quite understandable for an artist who experienced the collapse of his ideals.
Self-portrait 1794
Bonaparte at the Saint Bernard Pass (1801)
In 1797, he witnessed the ceremonial entry of Napoleon Bonaparte into Paris and since then became his ardent supporter, and after he came to power - the court “first artist”. David creates paintings dedicated to Napoleon’s crossing of the Alps, his coronation, as well as a number of compositions and portraits of people close to Napoleon
"Coronation of the Emperor and Empress"
"The Army's Oath to Napoleon"
In 1804, Napoleon Bonaparte became emperor, and David received the title of "first painter to the emperor." Napoleon demands praise of the empire in art, and David, on his orders, writes two large compositions, “The Coronation of the Emperor and Empress” (1806-1807; Louvre) and “The Oath of the Army to Napoleon after the Distribution of Eagles on the Champ de Mars in December 1804” (1810; Versailles) ).
"Sappho and Phaon"
The portrait remains strong point creativity of David until the end of his life, as for compositional works, then they, having lost their former revolutionary pathos, turn into cold academic paintings. Sometimes he strict style gives way to pretentious sophistication and beauty, as, for example, in the painting “Sappho and Phaon” (1809; Hermitage).
The years of reaction followed, and in 1814 the Bourbons came to power. David is forced to go into exile, but despite this, in Paris his students continue to honor the cult of the maestro and await his return: “Your oldest students still love you...” they write to David.
"Mars Disarmed by Venus"
During the period of emigration, along with inexpressive compositional works, such as “Mars Disarmed by Venus” 1824, he creates a number of portraits painted in different manners. Precise detail characterizes the portraits of archaeologist Alexandre Lenoir (1817; Louvre) and actor Wolf
Portrait of Alexandre Lenoir
David Jacques Louis (1748-1825) - French painter.
Biography:
Jacques Louis David - famous French artist.
Born on August 30, 1748 in Paris into the family of a wealthy bourgeois. Boy early
discovered a penchant for drawing. In 1766, he was accepted into the Royal Academy of Painting and Sculpture, where the artist J. M. Vien, who created paintings on ancient subjects, became David’s teacher. After graduating from the Academy, the young painter, as was customary then, went on an internship to Italy. There he spent four years (1775-1779). Upon returning to his homeland, David became a member of the academy and regularly participated in its exhibitions.
Already in early works The master affirmed the triumph of civil courage and reason over thoughtless cruelty (“The Battle of Minerva and Mars”, 1771). Now ancient subjects have become firmly established in the artist’s work. The romantic civic spirit was characteristic of the classicism of the pre-revolutionary era in France. David's first work in this style is the canvas “Belisarius Begging” (1781).
This emphatically austere picture, glorifying the perseverance of a true citizen in adversity, immediately attracted the attention of viewers.
Another painting by David, “The Oath of the Horatii” (1784), based on a plot from Roman history, was even more popular.
Three brothers from noble family The Horatii defeated three of their opponents in the battle with the city of Alba Longa. And although two of the brothers died, the duel ended in favor of the Romans, which brought them a quick and bloodless victory.
David worked under government orders: the academy encouraged works that aroused patriotic feelings. In 1787, the painter created the painting “The Death of Socrates”,
In 1789- “The lictors bring the bodies of his sons to Brutus.” The last painting was exhibited in revolutionary Paris after the storming of the Bastille it immediately became very popular. It depicted pictures so familiar to Parisians - women mourning the dead.
From that moment on, David became recognized artist French Revolution. The painting “The Oath in the Ballroom” (1791) was not completed by the master, since most of its heroes - members of parliament - within a year either ended up in exile or fell victims of the Jacobin terror. In 1793, David wrote the compositions “Murdered Lepeletye” and “Death of Marat”,
combining in them the features of a portrait and historical painting. The artist himself was a deputy of the Convention and participated in the creation of new revolutionary holidays. It was he who was entrusted with the organization National Museum in the Louvre. After Napoleon I came to power, David became the main court painter. He turned out to be unusually prolific, making many portraits of the emperor (“Napoleon crossing Saint Bernard”, 1800,
etc.), his wife Josephine, courtiers (“Madame Recamier”, 1800;
Portraits of the Serizia couple, 1795):
Pierre Cerisia
1790
Portrait of Madame Emilia Cerisia, 1795
and generals, and also captured solemn events (“Coronation”, 1805-1807).
Portrait of Napoleon in the imperial cabinet
Zinaida and Charlotte Bonaparte, 1821
After Napoleon's defeat, David was forced to leave for Brussels
Anointing of Napoleon I and Coronation of Josephine
Sappho and Phaon
1809
Death of Seneca
1773
Cupid and Psyche
1773
Antiochus and Stratonica, 1774
Academy fine arts, Paris
Andromache near the body of Hector, 1783
Louvre Museum, Paris
Love of Paris and Helen, 1788
Louvre Museum, Paris
Portrait of Jacob Blau
Portrait of Countess Wilen XIII with her daughter
Portrait of Lavoisier and his wife Marie-Anne, 1788
Portrait of Doctor Alphonse Leroy, 1783
Contessa de Sorsi
Anne-Marie Felucien
Portrait of Madame Henriette de Vernignac Leonidas I and the Spartans
Portrait of a Jailer
1794
Portrait of Pius VII
1788
Margaret-Charlotte David, 1813
Jacques Louis David was born on August 30, 1748 in Paris. And in 1857 he began studying at the College of the Four Nations on a course in rhetoric.
But when David was 9 years old, his father, a young wealthy businessman, died in a duel. Louis's mother took him out of college and gave her son to relatives to raise. Francois Buron and Jacques Demaison immediately noticed the child's artistic talent. They served as architects and wanted to pass on to him their craft, providing good income. But my nephew was not interested in the architecture. He drew enthusiastically, but looked at the drawings indifferently.
Buron took Louis to the famous Parisian artist François Boucher, and he, seeing David’s drawings, immediately gave the sixteen-year-old boy letter of recommendation to Vien, the main court painter.
Great Rome Prize
David became a student at the Royal Academy of Painting. He worked with great zeal and rapidly moved towards mastery. The dream subject of any academy student is the Great Rome Prize. Having received it, the artist had the opportunity to work calmly in Italy and study alongside renowned masters.
Without warning Vienne, David provided his work to the Academy's authorities. After a few months of training, he was allowed to participate in the competition. The first painting in his life, “The Battle of Mars with Minerva,” brought Louis only the second prize. David was disappointed.
David participated in the competition four times. Others received the award three times. Perseverance and skill acquired over the years saved them from despair. In 1774, the painting “Antiochus, son of Seleucus” brought David a long-awaited victory. He painted the picture in a new way: he arranged the figures in a row, abandoning the traditional pyramid.
David gradually became fashionable. There was a lot of work. Court ladies, high society ordered portraits.
Italy (1775 – 1780)
In Rome, David received permission to visit galleries that were closed to ordinary art lovers. In the Vatican he studies Caravaggio paintings, Rafael. Makes pencil sketches with antique sculptures. There was no room left in his room for completed works. The drawing became simpler and stricter. Sometimes it took a day to accurately depict the smallest detail figures.
He liked to paint strong, muscular torsos. The artist saw support for his search for a strict composition in the majestic beauty of the ancient heroes.
Louis wrote a lot on the streets of Rome. His “The Triumph of Pavel Emil” (1778) was highly appreciated by the Academy.
Return to homeland. "Belisarius"
David spent five years in Italy. For his return to the Academy, he prepared sketches of his future painting"Belisarius."
In order to exhibit his paintings in salons, David needed to receive the first academic title, to be “accredited to the academy.” All the artist’s thoughts were focused on the painting, where he first decided to publish the ideas born of a painstaking study of antiquity. Belisarius in the painting of David sits on a stone. He is blind and does not see the world, but only listens to it.
The Academy Council unanimously approved the picture, and Jacques Louis became “admitted to the Academy,” which he persistently sought.
In August 1781, the Louvre opened art salon, where eight of David's works were exhibited. Among them: “Holy Rock”, “Funeral of Patroclus”, “Portrait of Count Potocki”. For the first time, paintings told not about the love affairs of the gods, but about the sad roads of fate, kindness, and fidelity. Diderot himself wrote with delight about the young artist’s paintings.
The painter's fame grew. Aspiring artists came with requests to become his students.
In 1782, Louis met the daughter of an influential and noble nobleman, Monsieur Pécoul. And in May, the marriage of Margarita Charlotte Pecoul and Jacques Louis David took place.
"Andromache" and "Oath of the Horatii"
Life in France has changed. Center political events moved from Versailles to the living rooms of aristocrats and bourgeois. David is working on a new painting, “Andromache Mourns the Death of Hector.” The painting completely captured the artist’s thoughts. But then an order came from the royal palace for a series of paintings “The Good Deeds of Kings,” which could not be refused.
David is looking for a plot in which he could, without departing from the ordered topic, realize his thoughts. This is how the painting “The Oath of the Horatii” was born. Three sons in battle garb stretched out their hands to their father. The old man blesses his sons’ oath and admonishes them before the battle.
"Andromache" brought David the title of academician, and "Oath of the Horatii" - world fame. The news of the extraordinary painting instantly spread throughout the city, and crowds of admirers besieged Louis's workshop. Rumors about the painting reached the Pope himself, and Pius VI conveyed a request to the French painter to bring “The Oath” to the Vatican.
Revolutionary Artist
Great French Revolution captured David. He actively participates in the revolutionary movement.
1790 David becomes a member of the Jacobin Club and writes the Ballroom Oath.
1791 He organizes the ceremonial transfer of Voltaire's ashes to the Pantheon.
1792 David was elected a member of the National Convention.
1794-1795. The artist is imprisoned. Creation of paintings: “The Greengrocer” and “View of the Luxembourg Gardens”.
1800 Creation of a portrait of Napoleon.
1803 Awarding David with the Order of the Legion of Honor.
From 1803 – 1807. David - the emperor's first painter
1815 Napoleon meets David. Presentation of the Commander's Cross of the Legion of Honor. Expulsion from France.
1825 Death from cardiac hypertrophy.
The French authorities banned David's funeral in his homeland. He was buried in Brussels. Only David's heart, thanks to numerous requests, was buried in the Père Lachaise cemetery in Paris.
Some of David's works have been lost, but the surviving paintings are evidence of the colorful life of the painter, the world's first famous artist who became a revolutionary.
Text: Alla Mistyukova
