Jacques Louis David: 135 Master Drawings
Blagoy Kiroff
Language: English
Pages: 9
ISBN: 1514717492
Format: PDF / Kindle (mobi) / ePub
Jacques-Louis David (1748 – 1825) was an influential French painter in the Neoclassical style, considered to be the pre-eminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, heightened feeling chiming with the moral climate of the final years of the Ancien Régime. He later became an active supporter of the French Revolution and friend of Maximilien Robespierre, and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release, that of Napoleon I. It was at this time that he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from power and the Bourbon revival, David exiled himself to Brussels in the then-United Kingdom of the Netherlands where he remained until his death. David had a huge number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.
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Jacques Louis David: 135 Master Drawings By Blagoy Kiroff –––––––– First Edition ***** Jacques Louis David: 135 Master Drawings ***** Copyright � 2015 Blagoy Kiroff Table of Contents Title Page Copyright Page Foreword Drawings Foreword Jacques-Louis David (1748 – 1825) was an influential French painter in the Neoclassical style, considered to be the pre-eminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo
Statue of a Standing Woman Pen and brown ink and wash, over faint traces of red chalk Detail View of Rome with the Senatorial Palaces and the Pyramid of Cestius Pen and dark grey ink and grey wash over black chalk Detail Study of a Woman, Head and Shoulders, Wearing an Antique Diadem Black chalk Detail Alexander, Apelles and Campaspe Pen and black ink, grey and light beige wash heightened with white over black chalk Detail Detail Detail Maiden and Old Woman Black lead on paper
Statue of a Standing Woman Pen and brown ink and wash, over faint traces of red chalk Detail View of Rome with the Senatorial Palaces and the Pyramid of Cestius Pen and dark grey ink and grey wash over black chalk Detail Study of a Woman, Head and Shoulders, Wearing an Antique Diadem Black chalk Detail Alexander, Apelles and Campaspe Pen and black ink, grey and light beige wash heightened with white over black chalk Detail Detail Detail Maiden and Old Woman Black lead on paper
style, notable for its use of warm Venetian colours. After Napoleon's fall from power and the Bourbon revival, David exiled himself to Brussels in the then-United Kingdom of the Netherlands where he remained until his death. David had a huge number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting. He had his first training with Boucher, a distant relative, but Boucher realized that their temperaments were opposed and sent
uncompromising subordination of colour to drawing and his economy of statement were in keeping with the new severity of taste. His themes gave expression to the new cult of the civic virtues of stoical self-sacrifice, devotion to duty, honesty, and austerity. Seldom have paintings so completely typified the sentiment of an age as David's The Oath of the Horatii (Louvre, Paris, 1784), Brutus and his Dead Sons (Louvre, 1789), and The Death of Socrates (Metropolitan Museum, New York, 1787). They