| Born | 1748 (Paris) |
| Died | 1825 (Brüssel) |
| Nationality | France |
| Epochs | Classicism |
| Genre | history painting, portrait, allegory, landscape, religious art |
| Profession | painter, politician, architectural drafter |
| Family | Father: Louis Maurice David Mother: Marie-Geneviève Buron Spouse: Charlotte David Child: Charles-Louis Jules David, Laure Émilie Félicité David, Eugène David, Pauline Jeanne David |
| Teacher | Joseph-Marie Vien |
| Student | François-Édouard Picot, Henri François Riesener, Christoffer Wilhelm Eckersberg, Johan Ludwig Lund, Léopold Robert, Jean-Baptiste Isabey, François Gérard, José de Madrazo y Agudo, Antoine-Jean Gros, Jean-Baptiste Wicar, Juan Antonio de Ribera, François-Marius Granet, Nanine Vallain, Constance Marie Charpentier, Benjamin de Rolland, Jean-Auguste-Dominique Ingres, Eberhard von Wächter, Georges Devillers, Jean-Baptiste Collet, Albert Paul Bourgeois, Jean Biard, Jean-Claude Rumeau, Alexandre Abel de Pujol, Édouard Liénard, François Souchon, Bertaud, Louis Prot, Adèle Kindt, Antoine Alexandre Morel, Joachim Sotta, Michel Martin Drolling, Julie Hugo, Pierre Jean David d’Angers, Ludwig Wilhelm Wichmann |
| Memberships | Académie royale de peinture et de sculpture, Royal Netherlands Academy of Arts and Sciences, Académie des beaux-arts |
| Notable works | Der Tod des Sokrates (1787), Der Schwur der Horatier (1784), Der Tod des Marat (1793), Le Sacre de Napoléon (1807), The Intervention of the Sabine Women (1799) |
| Museums | Art Institute of Chicago, Metropolitan Museum of Art, J. Paul Getty Museum, Nationalmuseum Schweden, Belvedere (Oesterreichische Galerie) |
The French painter Jacques-Louis David became famous above all through a series of classicist history paintings. As a Jacobin member of the National Convention and the Security Committee, he was a prominent player on the political stage during the French Revolution. Among his painted commentaries of this period of upheaval were above all "Die Ermordung des Marat" (1793). David later became a transfiguree of the imperial era with works such as "Krönung Napoleons I." (1806).
Art historians associate David with the breakthrough of classicism in painting. In 1785 David's oil painting "Der Schwur der Horatier" (1784) was presented to the public with enormous success. The painting, which in clear contrast to the playfulness of the rococo painting that had dominated until then, propagated determination and a will to act, represents a pathetic scene from early Roman history: The three brothers of the Horatier family are to fight for Rome against Alba Longa in a proxy fight to the death. Before the fight, the father takes the oath of arms from his sons and holds their swords. In contrast to this group of four determined by energy and fighting tension, David has placed women crouching in mourning. A dark background and antique arcade elements complete the picture composition. In retrospect, David's contemporaries speculated on the call for revolution into the picture, which today appears rather stiff.
The painter, who was ostracized as a revolutionary, was driven out of France after 1815 by the Restoration. He died in 1825 at the age of 77 in exile in Brussels.
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| Born | 1748 (Paris) |
| Died | 1825 (Brüssel) |
| Nationality | France |
| Epochs | Classicism |
| Genre | history painting, portrait, allegory, landscape, religious art |
| Profession | painter, politician, architectural drafter |
| Family | Father: Louis Maurice David Mother: Marie-Geneviève Buron Spouse: Charlotte David Child: Charles-Louis Jules David, Laure Émilie Félicité David, Eugène David, Pauline Jeanne David |
| Teacher | Joseph-Marie Vien |
| Student | François-Édouard Picot, Henri François Riesener, Christoffer Wilhelm Eckersberg, Johan Ludwig Lund, Léopold Robert, Jean-Baptiste Isabey, François Gérard, José de Madrazo y Agudo, Antoine-Jean Gros, Jean-Baptiste Wicar, Juan Antonio de Ribera, François-Marius Granet, Nanine Vallain, Constance Marie Charpentier, Benjamin de Rolland, Jean-Auguste-Dominique Ingres, Eberhard von Wächter, Georges Devillers, Jean-Baptiste Collet, Albert Paul Bourgeois, Jean Biard, Jean-Claude Rumeau, Alexandre Abel de Pujol, Édouard Liénard, François Souchon, Bertaud, Louis Prot, Adèle Kindt, Antoine Alexandre Morel, Joachim Sotta, Michel Martin Drolling, Julie Hugo, Pierre Jean David d’Angers, Ludwig Wilhelm Wichmann |
| Memberships | Académie royale de peinture et de sculpture, Royal Netherlands Academy of Arts and Sciences, Académie des beaux-arts |
| Notable works | Der Tod des Sokrates (1787), Der Schwur der Horatier (1784), Der Tod des Marat (1793), Le Sacre de Napoléon (1807), The Intervention of the Sabine Women (1799) |
| Museums | Art Institute of Chicago, Metropolitan Museum of Art, J. Paul Getty Museum, Nationalmuseum Schweden, Belvedere (Oesterreichische Galerie) |
The French painter Jacques-Louis David became famous above all through a series of classicist history paintings. As a Jacobin member of the National Convention and the Security Committee, he was a prominent player on the political stage during the French Revolution. Among his painted commentaries of this period of upheaval were above all "Die Ermordung des Marat" (1793). David later became a transfiguree of the imperial era with works such as "Krönung Napoleons I." (1806).
Art historians associate David with the breakthrough of classicism in painting. In 1785 David's oil painting "Der Schwur der Horatier" (1784) was presented to the public with enormous success. The painting, which in clear contrast to the playfulness of the rococo painting that had dominated until then, propagated determination and a will to act, represents a pathetic scene from early Roman history: The three brothers of the Horatier family are to fight for Rome against Alba Longa in a proxy fight to the death. Before the fight, the father takes the oath of arms from his sons and holds their swords. In contrast to this group of four determined by energy and fighting tension, David has placed women crouching in mourning. A dark background and antique arcade elements complete the picture composition. In retrospect, David's contemporaries speculated on the call for revolution into the picture, which today appears rather stiff.
The painter, who was ostracized as a revolutionary, was driven out of France after 1815 by the Restoration. He died in 1825 at the age of 77 in exile in Brussels.