COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.2002.91
amicoid
CMA_.2002.91
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
David, Jacques Louis
crn
David, Jacques Louis
Creator Name
false
Creator Nationality:
French
crc
French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1748 - 1825
cdt
1748 - 1825
Creator Dates/Places
false
Biography:
The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Académie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Musée du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Musée du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Académie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napoléon Bonaparte. David's painting The Intervention of the Sabine Women (1799, Musée du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'état of 1799, Napoléon was named first consul and began supplying David with important commissions. Upon Napoléon's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napoléon, or Le Sacre (1805-7, Musée du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napoléon in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napoléon's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.
crb
The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Académie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Musée du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Musée du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Académie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napoléon Bonaparte. David's painting The Intervention of the Sabine Women (1799, Musée du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'état of 1799, Napoléon was named first consul and began supplying David with important commissions. Upon Napoléon's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napoléon, or Le Sacre (1805-7, Musée du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napoléon in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napoléon's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Paris, 30 August 1748
cbp
Paris, 30 August 1748
Creator Birth Place
false
Creator Death Place:
Brussels, 29 December 1825
cdp
Brussels, 29 December 1825
Creator Death Place
false
Creator Name-CRT:
Jacques Louis David
crt
Jacques Louis David
Creator Name-CRT
false
Title:
Cupid and Psyche
otn
Cupid and Psyche
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Detail
rid
Detail
View
false
Creation Date:
1813
oct
1813
Creation Date
false
Creation Start Date:
1813
ocs
1813
Creation Start Date
false
Creation End Date:
1813
oce
1813
Creation End Date
false
Materials and Techniques:
gray wash and pen and black ink with white paint and traces of black chalk
omd
gray wash and pen and black ink with white paint and traces of black chalk
Materials and Techniques
false
Classification Term:
Drawing
clt
Drawing
Classification Term
false
Style or Period:
France, 19th century
std
France, 19th century
Style or Period
false
Dimensions:
Sheet: 16.7cm x 22.4cm
met
Sheet: 16.7cm x 22.4cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
2002.91
ooa
2002.91
ID Number
false
Credit Line:
Andrew R. and Martha Holden Jennings Fund
ooc
Andrew R. and Martha Holden Jennings Fund
Credit Line
false
Inscriptions:
signed and dated, lower right: L. David 1813
oin
signed and dated, lower right: L. David 1813
Inscriptions
false
Rights:
orl
<a href="http://www.clevelandart.org/museum/disclaim2.html"target="_new">http://www.clevelandart.org/museum/disclaim2.html</a>
Rights
false
Provenance:
Nicholas Phillippe Auguste, Compte de Forbin [gift of the artist]; Private collection, Paris; EugeneThaw, New York; Ed Hill, El Paso, Texas; Elizabeth Eddy, Ohio
opo
Nicholas Phillippe Auguste, Compte de Forbin [gift of the artist]; Private collection, Paris; EugeneThaw, New York; Ed Hill, El Paso, Texas; Elizabeth Eddy, Ohio
Provenance
false
Related Image Identifier Link:
CMA_.2002.91det01.tif
ril
CMA_.2002.91det01.tif
Related Image Identifier Link
false