Jean Louis David about Napoleon. Jacques Louis David, paintings: description and photo

06.04.2019

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On the eve of the harsh events of the French revolution and during the revolution itself, the art of France turned out to be seized by a new wave of classicism. The advanced thinking part of France was quite clear during these years, that the Bourbon monarchy is completely falling apart. New requirements of life caused the need for new art, new language, in new expressive means. The passion for the ancient culture coincided with the most pressing requirements of the art of heroic, high-weather, creating images, decent imitation. Classicism has shown himself in all areas of fine art - in architecture, painting, sculpture.

The most bright effect of classicism has rendered on painting. Again in art, the role of the mind as the main criterion is put forward in the position of the wonderful, again art is called upon to bring up a debt chief, citizenship, serve the ideas of statehood, and not be fun and enjoyment. Only now, on the eve of the revolution, this requirement acquires a more specific, targeted, focused nature.

On the eve of the Great French Revolution in France's painting, a very bright, talented artist - Jacques Louis David appears. In his work, antique traditions, aesthetics of classicism merged with the political struggle, organically spurled with the policy of the revolution, this gave a new phase of classicism in French culture - "revolutionary classicism".

David was the son of Parisian denied (Wholesale merchant, Kommersant), graduated from the Royal Academy. In his early works, he is close to the traditions of the late baroque and even some elements of Rococo. Having received the "Roman Prize" as the best student of the Academy, he falls into Italy in 1775. There I get acquainted with antiquity monuments, studies the works of Italian artists. After that, David begins to use in his works what attracted it in antiquity, however, trying not to imitate, but look for his way.

It must be said that on the eve of the revolution, the ideal of the French bourgeois society, to which David belonged, was antiquity, but not Greek, but the Roman, the times of the Roman Republic. The priests from the department quoted not the gospel, but the Roman historian of Tita Libya. In the theater, the tragedy of Cornel, playwright, which in the images of antique heroes glorified civil values \u200b\u200band a sense of patriotism in the images of antique heroes. So there was a new style, and David spoke in his paintings of this period with his true herald ("Kreatva Horatiyev").

With the beginning of the revolutionary events, David issues mass festivals, is engaged in the nationalization of works of art and turning the Louvre into the National Museum. National holidays were arranged, for example, on the anniversary of the take of Bastille or the proclamation of the republic, in honor of the "High Creature" or the solemn transfer of the remains of Voltaire and Rousseau in Pantheon. Most of these holidays were preparing directly David. Each such design was the synthesis of arts: an art, theater, musical, poetic, oratory.

In 1793, the National Museum was opened in Louvre, which henceforth became the center of artistic culture, and art school. Artists come there and today for copying, to study the masterpieces of world visual art.

In 1790, David starts a big picture on the order of the Jacobins "Oath in the Ball Hall", in which he conceived to create an image of the people in a single revolutionary rush. Unfortunately, the picture was not written, except for sketches, sketches. When the "friend of the people" Marat was killed, the artist writes on behalf of the convention of his famous painting "Death of Marata" on behalf of the convention.

Since 1793, David is included in the Public Security Committee - and comes closer to the head of the Jacobinsky party Robespierre. But after the fall of the Jacobin dictatorship, the political career of the artist is broken, and his most briefly arrested.

His subsequent path is the path from the first artist of the Republic to the court painter of the Empire. During the directory, he writes Sabineanok. Begins to show interest in the image of Napoleon. And during the period of Napoleon's empire, he becomes the first painter of the emperor. According to his order, he writes huge paintings "Napoleon on the passage of Saint-Bernard", "Coronation", etc.

Linking Napoleon and the restoration of Bourbons forced David emigrate from France. From now on he lives in Brussels, where he dies.

In addition to historical canvons, David left a large number of beautiful paintings and characteristics of portraits. The strict grace of his letter David predetermined the characteristic features of the classicism of the early 19th century, which was called Ampir.

In September 1783, David for this picture was adopted in real members of the Royal Academy. The artist wanted to show here the sorrowful fate of heroes, grief in connection with the loss of the father and her husband.

Mazkov in the picture is almost not visible, the smooth surface of the canvas seems to be enamel, body - animated marbs. The ice light fills the room where the huttor's burial bed is, glitters on the bronze high edge and fuses in a depth, where mourning drapes are silently remind of death. Andromakhi's eyes, red from tears, look into the eye to the viewer. Everything is breathing here with real antiquity: weapons copied with Roman reliefs, chased bronze lamp, slender carved furniture, similar to the one that David saw in Pompiana houses. But the main thing is that the spectators agitated - the feeling of the need and nobility of the feat.

Kavrtina had a great success in the audience.

Once, David with a friend watched a king's retinue, sent to the hunt. Cheerful exclamations, laughter, lively voices ran away from the lawn, located gone. Several courtiers and officers tried to jump into turns on a ballooming, apparently, almost not climbed, stallion. The horse was unusually good - gray in apples, with a long mane confused. He reminded David Dioscurov's horses from the Roman Capitol. Yes, and everything here seemed to be converged with antiquity: the wild horse, driving out of the hands of people peaked by the sun, the dilapidated wall of the Patrician Villa in the distance ...

No one managed to tame the stallion, it was impossible to stay in the saddle, the most skilled riders failed. Finally, one more decided to try happiness. Very young, thin, fast in movements, he entered the lawn with light steps and dropped the caftan. Left in one Camsole, the young man seemed completely fragile next to a huge stallion. Almost without touching the stirrer, he jumped into the saddle and, having risen her reins, raised his horse on the pussy. Dust, whose wades flew into the eyes of the audience; The stallion was mad allyur rushing in different directions, unexpectedly stopped, trying to reset the rider over his head, and again a quarry jumped forward. Everything, hopping his breath, followed the match of a man and horse.

Man won. Walking and throwing her head, mowed with her eyes with her eyes, stallion stopped on the middle of the paradise. Rider turned to the audience happy and tired, quite a boyish face and solemnly removed the hat, saluting the king. His chest severely rummaged under the blue Order of the Tape, in his eyes there was still an excitement of a recent struggle, lace Jaba broke out, opening her neck. The audience applauded as in the theater. This scene imprinted so brightly in the artist's eyes, which he began to write a picture.

The artist depicted Count Pototsky riding on a magnificent and already submissive stallion. He takes off his hat, saluting king. Light blue tape of the white eagle Order on the chest of graph, cream rates, blue sky, juicy greenery of young grass, white lace Pottsky shirt, sunny spots on the ground - a real celebration of painting!

As can be seen, not only antiquity, but also modern life, if there is something from the heroic of the Romans, and maybe, just from the courage of a person, it is capable of firmly to take possession of the artist's heart.

David chose the historical plot, inspired by the novel known in those years of the writer of Jean Francois Marmontal about the sad fate of the Gasizaria, the commander of the emperor of Justinian. Mixing history with the legend, Marmontal described the life of a courageous warrior, a favorite soldier who won a lot of victories to the glory of his Lord. But Justinian did not trust Gazesia and was afraid of him. In the end, the emperor decided to get rid of a too famous military personnel. Gassenary was deprived of ranks and wealth, and then by order of the cruel and incredulous monarch blinded.

In the book of Marmontal, David attracted one of the last episodes - the old warrior recognizes his commander in a squabbed, blindfold, asking for a champion.

The picture shows heavy pedestals, databases of powerful columns. Albanged the hills that resemble the Albanian mountains. There, in the thick mass of trees, roofs of houses and temples can be seen ...

Gasienary sits on the stone, his head raised up - he is blind, he does not see the world, only listens to him. The lats on the shoulders of the commander sadly shade the rubies into which he is closed. A guide boy in a light tunic stretches forward in a combat helmet of Veliar. And in this helmet, so often one of his brilliance inspired horror on the enemies of the powerful power, in this helmet, in which Delicia fought in Persia, in Africa, in Rome, puts some kind of kind woman.

Loaded the old soldier with amazement and horror looks at a squabbleclose layer. Not deciding to admit in the poor and beloved soldiers of the famous commander. David has not yet dare to entrust the viewer an assessment of the event, and the soldiers as it were to express surprise and the mountain of the artist himself.

The picture is full of humanity, courageous suffering and compassion.

Once David agitated the play of Cornelia on the stage of the French Theater - the tragedy about Horace, as a story about the courageous and decent life of the ancients, like the revival of ancient heroic:

Returned to the father's house after the battle with the enemies, the only surviving son of the old Horace. Here he, the winner, saw his native sister mourns the death of his beloved - the young man from a hostile kind. In anger, he killed his sister's blow. And now the young man is judged, and his old father protects the Son. Father's hot speech sounds from the scene:

Holy Lavra! You who are spot here!

You, whose sheets chapter will save from thunder!

Do you allow the enemy to the execution of Vlaga,

Oh, Romans, friends, you're ready

Hero impose shameful shackles?

It will be so ruthlessly executed,

To whom his freedom is obliged to Rome?!

And David thinks a picture of Horace and his sons.

The canvas is a huge canvas. Against the background of the gloomy stone arcades, a scarlet cloak is burning, thrown on the shoulder of the younger Horace. Three sons in full combat armament, in the helmets and with spears shook the right hand to meet the father in the traditional and courageous gesture of the Roman greeting. The old man himself, raising the upward shining swords, fastens the oath of sons in loyalty to the debt and readiness to fight with the enemies with his blessing and, as a military personnel, rushing themselves before the battle. The sisters of warriors are inclined in the scenery of the soldiers. From the canvas, it seems to ring heavy and terrible weapons. Swords, the hands of the father and sons, connecting in the very center of the canvas, symbolize the meaning and meaning of the picture: above all, above the human feelings and lives, over the grief of women and the oldity of the father, an oath is in loyalty to the debt and blades of swords.

David's cloth embodied alive and proud people, in strict features of the antique heroes of the concept of debt, honor and love for the debris, it forced people to see the vanity and insignificance of small everyday affairs, the secular bustle near the true greatness of the spirit, near the thoughts about the freedom that was in favor of the mood Many Parisians.

Therefore, the picture caused an excitement, there were no indifferent, there were only friends and enemies. And therefore some academicians were so indignant: they fairly seen in the picture not only the violation of the adopted canons, but also a dangerous liberty.

The plot refers to the famous battle during the Greek-Persian wars.
In September 480 BC. At the end of the Greek-Persian war, the Persians in an attempt to invade Greece make a transition to the rocky gorge Fermopyl. After two days of battles, Persians are resolved for a desperate step when the traitor Efcalt points them by a workaround into the rear of the Greeks. The leader of Spartans Leonid dies together with the 300-to-Spartans, surrounded by enemies. They led heroic resistance against many times superior forces and beat to the latter, so that their compatriots were able to evacuate peaceful people and prepare for defense.
The central character of the paintings is the Tsar Leonid, naked and unarmed (but with a large round shield, banding of armor and in the helmet), laughed on the chip of the rock, bending the left leg.
According to his right hand, his brother Agis, with a wreath on the head, which is worn during the sacrifice before the battle (ancient custom), and blind Eurit, headed by a slave of Spartans, wade a spear.
On the other side - a group of Spartans with a trumpet over their heads. Soldiers compress weapons and shields or kiss women before going to death.
On the left in the picture, the soldiers cling to the rock to engrave the phrase handle "going to Sparta will be said that we died, obeying their laws."
The painting "Leonid in Fermopilah" shows not the battle himself, but preparation for it.

The picture was written in the period of the French revolution, when the society did not know that they were still waiting for tomorrow, but everyone was in the lively waiting for change. The appearance of this canvase was waiting for the hero. Freedom of the composition, direct hint of modernity led to the delight of the audience, but outraged academics, and they wanted to ban the cramolous, in their opinion, canvas. However, it was necessary to give up the requirements of the audience and the picture was made to see.

Bright color bursts tearned a dark canvas. The wife of Bruut and the daughters pressed to her like petrified, a dumb cry, frozen on his lips, made their faces like antique tragic masks. The pieces of multicolored matter thrown on the table, the needle, stuck in the ball of threads, talked about the former life with her ordinary and now forever lost serene rest.

Brut sat at the foot of the Statue of Rome, still, silent, he forced himself not to turn around, not to look at the bodies of executed sons. The figure of Bruut, immersed in the shadow, seemed to the statue of despair and endless determination.

Spectators, many of whom have already brought or were ready to bring any victims in the name of the distant freedom, there were silent and serious. These days, people sincerely forgot about everyday details. Brutov gave the audience an example of the resistance necessary to everyone who commemorates themselves to fight.

Spartan Tsarevna Elena was the most beautiful death female Okumen. They said that her beauty was inherited from Zeus. Everyone dreamed of becoming her husband, but she denied everyone. Elena was very temperamental in nature and did not very much adhere to decency in relations. The father of the girl, Tsar Tyndarya, fearing all the new trials of his daughter, gave her married to the rich young man, the son of the Trojan king Priama Menali, insanely in her in love. After the death of the father, Elena Melaly became the king instead of him. He wore his spouse, did not move away from her any step than caused her mad anger and indignation. She groved her husband, shouted at him and did not hide that he did not like him. Wanting to soften the stroke wife, Meneli gave her gifts, but it helped for a short time.
Everything changed since Elena met the wonderful young man of Paris and fell in love with him. From the visitors of merchants Paris found out that the most beautiful woman lives in Sparta in Sparta. He wished to see the queen and went to several ships in Sparta to Menneli. The young king of the guest took warmly, and that all evening, forgetting about the decency, did not remove the eye from her. Elena clearly answered a stranger with reciprocity.
The next day, Menelia went on business, and Paris met with Elena, and they made a plan of escape. She let the Trojan Prince in his chambers and spent several passionate nights with him. And then, gathering the jewelry, went along with his lover on his ship.
Trojans loved Elena for her beauty. But Meneli did not accept the loss of spouse. He swore to destroy the Menal and his friends and sent the army in Troy. But after 10 years, with the help of tricks and the "Trojan horse", the Greeks captured Troy. Paris died from the poisoned boom. And Menelai forgave his wife to his feet and lived with her until his death.

Tita Libya David found a story about that. As in the distant centuries, which even the Romans seemed to be antiquity, the Great Pattern occurred between the Romans and Sabinians. The Romans invited Sabinian neighbors for the holiday, but the intentions of the Romans were insidious: they unexpectedly attacked the guests and captured those present at the festival of Sabinsk women. Sabinians decided to take revenge, collected the army and moved to Rome. But at that moment, when it was ready to break out a bloody battle, Sabinsk women rushed to the very thick of the warriors and forced them to stop the battle. Since then, the legend said, Romans and Sabinians united into a single people.

David found that this legend would be more timely in his era. No painting David wrote so long. But finally the picture is finished.

The stormy battle froze on the canvas, composed of impassive cleanliness of lines. Beautiful, like marble statues, naked warriors frozen with weapons in their hands. Even the women of Sabineani, who rushed to ruin the enemies, as if petrified, even a mother, raised the child to the sky, stopped, like sculpture.

The forest of shinking copies rose in the depths of the picture at the walls of ancient Rome. Ahead two leaders stopped before a decisive fight. Romulus is ready to renew a light dart, the leader of Sabinjan Tatsiya is waiting for the enemy with a naked sword and a raised shield. Copied weapon could hit the outlines accuracy. All the heroes of David paintings wrote from nature.

The picture looked at Napoleon himself, but he did not understand her. The reaction of the audience was also ambiguous: along with a high assessment of art connoisseurs that seemed to be relevant in these difficult times, there were many inappropriate cheerful exclamations - as much as possible to exhibit so many people with the nasoles! The deaf wall of misunderstanding was between the audience and canvas.

The artist wrote a picture on a well-known plot about the death of the Roman philosopher, poet and the State Dealer Seneki.
Seneca belonged to the riders. At the request of the mother of the future Emperor Nero, he became his educator.
From Youth Seneca was fond of philosophy. During the reign of Emperor Caliguly enters the Senate, it quickly becomes a popular speaker. The glory of the speaker and the sensing writer excites the envy of the emperor so that he wanted to kill him if it were not for the persuasion of one of the concubines.
During the reign of Emperor Nero, it becomes his first adviser. The effect of Seneki on the emperor was huge. Later he receives the position of the consul hung in the empire, becomes very rich.
Nero persists its advisers to the Sequeca and Burra indirectly participate in the murder of His Mother Agrippines. After this crime, the dealer's relationship with the emperor is becoming increasingly stretched. Later, Seneca resigned and left the emperor nervous.
Nero, feeling the enormous influence of the Seneki in a society that prevents him, decides to remove his tutor and advisor. Seneca was sentenced to death, but had the right to choose a way to leaving life.
Seneca decided to commit suicide. Despite his husband's persons, his wife Paulina decided to leave with him. They both opened their veins on their hands. In the Seneki, who was already old, the blood flowed slowly, and he opened the veins and on his legs. Since death did not come, Seneca asked the doctor to give him poison.

Socrates - the famous ancient Greek philosopher. In ordinary life, he was distinguished by a large simplicity, meekness and extraordinary courage in the struggle for the truth and his beliefs.
Usually Socrates preached on the streets, mainly attracting young people to the conversation, to the discussion, helping the young men to delve into the essence of the concepts of good and evil, beauty, love, immortality of the soul, knowledge, etc.
The directness of the judgments of Socrates created him many enemies who accused him of corruption of the youth and in the denial of state religion. The main prosecutor of Socrates was a rich and influential Democrat Anit.
The philosopher was sentenced to death. Friends offered him to escape, but Socrates refused and courageously, calmly drank a bowl with poison Cickuch.
David depicted a prison room. A naked stone wall has a simple bed. On it - Socrates, saying goodbye to his students. On the floor lie on the shackles, from which the philosopher was already released.
The artist opposes the strict courage of the old philosopher in deep despair of those who gathered around him. The executioner himself transmitting poison convicts is shocked by what is happening.
In popping of the bed, David depicted Plato, immersed in meditation. The Lodge sits the dialogue of the Creuit, which is part of the Platonic Corps. It is more open than Plato, expresses his feelings. The head of the bed is the most expressive of all those present - Apollodor, Greek grammar and philosopher. And of course, the disciples of Socrates who do not hide their grief.

The picture transmits a historical event: the murder of the French revolution of the publisher of the newspaper "Friend of the People" Jean Marat, who in the newspaper especially called for the execution of Tirana-King, otherwise there will be no rest to the simple French.

Marat was sick, so lay in the bath, covered with a sheet, taking treatment from a cold. On the eve he brought a letter to a woman who asked to accept her to tell about the allegedly preparing conspiracy. At the time of taking the bath Marat just read the letter, in his other hand he had a pen. At this time, the woman came, and she missed her marata. She entered and overwhelmed the knife into Marat's defenseless breasts, thus aventing the executed king. The next day, the delegate from the people of Gyro proposed to write a picture of the death of Marat, a friend of a simple people.

David accurately depicted an event atmosphere: Marat lies in the bath, a letter-wrapped letter was still clamped in his hand, the head, wrapped with a towel, and another hand, with a pen, hacking himself; Near the knife. On the Tumba, where written accessories lie, it is written large: "Maratu - David".

An ominous mood is attached to cold walls, a cold bath. On the face of Marat forever captured impotence and suffering. Pale, blurred coloring pattern gives it a type of gravestone sculpture.

This is a canvas more than two and a half meters wide. The artist transmits a triumphal march of the emperor Napoleon after the French revolution. This is a monument to Napoleon - a slightly theater figure on a raised horse against the background of a wild mountain landscape, against the background of violent, with the clouds, the sky.

Everything was great in this picture: a raised horse on the edge of the abyss, a wide raincoat, beating on the ice wind, a calm gesture of the General hand, sending the troops, the face of the commander, devoid of the slightest lobe of the excitement. All spectacular details: Brilliant gingerbread, gilded ephes sabers, a hat with a galoon, sewing a collar, stamped horses mane - were located on canvas in a thoughtful and clear disorder and made up a mosaic as common as rich.

On the canvas there was a living image of the time hiding behind the dazzling brilliance of the solemn ceremony sober calculation and for the pride of victories - the thirst for power.

On the rock, the horses in the hooves, performing the role of the pedestal, the names of the great commander of antiquity are inscribed: Karl Great and Hannibal. The third name is Bonopart.

The first consul was very pleased with the portrait and ordered three copies.

A sugant gesture of an outstretched hand is subsequently repeated in the pictures of the era of romanticism.

Pope PIM II is the founder of the Bethlehem Order. During training at the university, he was read by the works of Cicero, Libya, and, imitating Roman poets, wrote erotic poems. He was a humanist. He showed diplomatic abilities at the courtyard of the German Emperor Friedrich III, and then became his personal secretary.
At the age of 40, the priestly san was adopted and was appointed Bishop of Siena, then Cardinal, and Finally, Pope Roman.
Being a humanist, Pius supported the development of cultural life at the papal courtyard. I was interested in classical literature, Latin poems wrote.
He strongly supported attempts to find a medicine from raging the plague. At the courtyard of Pius II, a letter was drawn up by the Turkish Sultan, calling for Christianity. Founding the Military Order of St. Mary Bethlehem.
Next to dad Cardinal Caprara - he was appointed first consul of France (at that time by Napoleon Bonopart) - Papal League at the courtyard of Piph Pius II. Paris became the residence of Craprara.
In 1802, he was appointed Pope Archbishop Milan. And in 1804, I bowed II to a trip to Paris for the coronation of Napoleon. Cararian as Archbishop Milan crowned Napoleon as King Italy, putting on him the crown.

Lucy Semilles Camill Benouua Demlen - French lawyer, journalist and revolutionar. The initiator of the campaign on the Bastilia, which posted the beginning of the Great French Revolution.
Demlen was a comrade Maximilian Robespierre, imbued with respect for the ancient revolutionary spirit.
Despite stuttering, he was a wonderful speaker, became a lawyer.
During unrest in Paris, he turned to the crowd, calling for arms. The first attached a green ribbon to his hat (color of hope). This appeal gave the first impetus to the destruction of Bastille. Demanded the proclamation of the republic.
On the process of Louis XVI stood for the death of the king.
However, later Demilen became in his articles to call for mercy, but Robespierre stopped supporting him. As a result, Demlen was convicted by the revolutionary tribunal and executed with Danton.
Dwellen is depicted in the best years of his life with his wife and child.

The work of David is inextricably linked with the fate of his homeland into one of the most turbulent and considerable periods of its history. In the last years of the reign of Louis XVI in recent years, he was not only captured by a rapid flow of revolutionary events 1789-1794, but also made his considerable contribution to them as an artist and as an active participant in the revolution.

It was during these years that his skill reached the greatest heyday, and the works created by them got an unprecedented public resonance in history. In the time of the directory, consulates and empire, the art of David has undergone significant changes, but continued to express the main trends in France's artistic life of those years. It was a painter of great ideological aspirations and bright creative conquests. He was the creator and leader of classicism - the dominant current in the French art of the late XVIII - early XIX century.

The task of the present essay is to give an idea of \u200b\u200bthe life and work of David, about the socio-aesthetic views of the era and its historical events. The focus is on the work of the revolutionary period - this is truly a heroic stage in the development of the artist's art.

Jacques David

Jacques Louis David was flesh from the flesh of the class, the artistic ideals of which he expressed for almost half a century. His parents engaged in haberdashery trading belonged to the wealthy part of the French bourgeoisie and on the social hierarchy of the old France were part of the third estate.

Jacques Louis was born on August 30, 1748 in an old house near the new bridge in Paris. His father Maurice David was killed for a duel, when the boy passed 9 years. Two his uncle took care of him: the Contractor of the King, Stone Affairs Master Buron and a member of the Royal Academy Architect Demezon. They wanted their nephew to receive architectural education. But the Jacques Louis from the young age was characterized by hardness of character and the certainty of his desires. Soon after the death of his father, he stated his guardians that he wants to become a painter and anyone else. Even during the period of school training (in college of four nations), Jacques Louis painted with hobbies not only in free watches, but also the sneaking during the lessons. After graduating from a college, he achieved the consent of his relatives to attend the class of drawing at the Academy of St. Luke and quite soon (in September 1766) on the advice of Francois Bush entered the Royal Academy, in the painting workshop, led by Joseph Marie Vienne (1716-1809).

The Academy even reigned the spirit of art Rococo: The plots were borrowed mainly from the field of mythology and carried predominantly a love character, the interpretation of them was subordinated to the desire to create an elegant and spectacular product that does not claim to be deposited. A whimsical, easy, causing look replaced everything that could awaken a serious thought and sublime feelings. Vienna heard in those years, "Novator", as she responded to the "fashion" going from Rome to all the antique. However, his efforts to approach the ancient samples were mainly through external borrowing. A fundamentally new content in the ancient forms of Vienne did not invested the same way as they did not give their deep reflection. It was to make his student David, whom he later called his "best work." In general, as a teacher Vienna a lot contributed to strengthening very important for the next stage of the development of the art of the idea that the target of each artist should be approaching the ancient ideal.

With admission to the Academy for David, years of persistent and urgency began. He studied zealously and generally successfully, although not immediately and with great difficulties achieved the so-called large Roman Prize, which gave the right to continue for four years training in the French Academy in Rome.

In 1771, David presented at the competition "Fight Mars with Miner", demonstrating how in conscientiously learned the artist all that was happening then to the concept of historical painting: mythological heroes in traditional postures of the defeated and winning, various minor characters included for filling out picturesque Spaces, rather bright, drowning to the appearance of paint and the main thing - the calculation of the scene's perception is not from the standpoint of its ideological design, but from the point of view of the decorative effects of all its elements. The picture received a number of praise reviews, but did not bring David the desired premium. Failures in achieving the goal have long pursued him for a long time.

At the contest of 1772, David again unsuccessfully made a picture of "Children of Niobay, pierced by Arles Diana and Apollon" to the plot borrowed from Metamorphosis of Ovid. Despair took possession of a young artist, and he decided to commit suicide. For three days he did not eat anything, locked in his room in Louvre, where he then lived with one of his friends. Only the painter Duayen was sincerely located to him. I was able to force the young artist to change the decision of the argument that death would only please the envious of his talent. The attack of a fabulous was defeated, and David with perseverance began for a new picture "Seneki's death". Finished to the contest 1773, it was also not awarded award. This time, David courageously moved a blow, exclaiming: "Unhappy, they want to skitter me from despair, but I will find it with your works. I will spend the next year and swear that they will be forced to award award to me! ". Indeed, the contest of 1774 brought a long-awaited victory. The big Roman prize was finally awarded David for the painting "The Erazistratus doctor opens the cause of the son's illness of the Sala of Antioch, in love with his stepmother." In the solemnity of the situation, the character of poses and clothing, and most importantly, in the conditionally and pathetic interpretation of the images of this work a marked impact on David French academic painting of the XVII century. Obviously the artist deliberately relied here on the old traditions of the Patriotic School in order to rather succeed. And here, in 1775, David rides in Italy along with Vienna, appointed director of the French Academy in Rome.

Rome of those years was a kind of "Mecca", the place of pilgrimage of novice artists. Already in the 60s of the XVIII century. The young people from different countries rushed there, who received art education at home and dreaming to join Italy to high art and improve their skills. Moreover, more and more Rome begins to attract non-monuments of the Renaissance, but for all the fact that it remains from antiquity. A significant role in this regard was played by the publication in 1764. The work of German art historian I. I. Winelman "The history of art of antiquity", in which the "noble simplicity and the calm greatness" of ancient art was proclaimed the highest ideal of the artwork.

To be continued…

Jacques Louis David: Self-portrait, 1791
64x53.
Gallery Uffizi, Florence (Galleria Degli Uffizi, Firenze).

Jacques Louis David is considered by the founder of French neoclassicism. In fact, three directions were connected in his picturesque manner: Rococo, neoclassicism and romanticism. The artist already in young years awarded honor to be set next to an outstanding French artist of Rococo Francois Bush, the creator of an elegant style. Echoes of sensual and frivolous painting Bush are clearly traced in the early works of David, such as "Battle of Mars and Miner" (1771). Here the battle scene is overwhelmed inappropriate on the field of browse figures of nude goddesses and chubby cherubs.

Battle of Minerva and Mars Louvre, Paris (Musée du Louvre, Paris) .1771, 114x140

Neoclassicism was a reaction to the dominant Baroque style at the time. Increasingly, critics and philosophers called on artists to apply to the heroic and moral plots of ancient history, ousting them freevoles, lightweight mythological scenes.

In the revival of interest in classical culture there was nothing new or unusual. Classicism dominated the French painting of the XVII century, the founder of this area is considered to be Nikola Poussin (1594-1665), which David borrowed a lot. Composite picture of his "Holy Roch, who molds the Virgin about the healing of worried" (1780) reminds the web of the Puisen "The Phenomenon of the Virgin of the Holy Yakov", and "Death of Socrates" (1787) - Poussin's "Euteidance will" belt.

"Saint Roh, who is mating the Virgin about the healing of worried" (1780)

Historical stories
Many canvas of neoclassicist artists were written on stories taken from the history of ancient Greece and ancient Rome. All historical paintings of David can be divided into three categories: oaths, scenes on mortal window (for example, "Socrates death") and battle scenes (for example, "Leonid under Fermopils", 1814). Oaths and death enjoyed special success in the 1780s, when these plots many interpreted in the light of modern political events. Such paintings were samples of dedication, self-sacrifice, heroism and high morality and thereby presented the perfect material for propagandist revolutionaries. True, in those years, David sometimes wrote historical scenes, imbued with the romantic spirit, such as, for example, "Love Paris and Elena", 1788

Paris and Elena Louvre, Paris (Musée du Louvre, Paris) .1788. 144x180

Neoclassicism was largely due to the archaeological excavations of the 1740s in the destroyed pompeas and Herculaneum. Issued household items, decorations opened the ancient world to artists. An even stronger the enthusiasm of creative people was heated by the books of the German archaeologist and the connoisseurs of the ancient antiquities of Johann Winelman (1717-1768): a multi-volume written "antiquity of Gerkulanuma", which was published from 1755 to 1792, and the "antique art history" (1764). In his research, Winkelman called on artists to strive for creating an ideal of beauty, based on the preserved samples of ancient art. These books have become cults for all of Europe.

"All Paris plays Greece," said one traveler who visited the French capital in those years. - On the heads of the Greek hairstyles. Even the smallest veil cannot afford that his tobackerka is not "antique". "

As the "Portrait of Madame Remight" shows, written by David in 1800, the fashion for Greek Style was preserved until the end of the 18th century and served as a source for creating another style - an ampir, whose flourishing came at the time of Napoleon's reign.

In the paintings of the adherents of the Greek style, the new fashion manifested itself in not always relevant architectural details, written as if "under ancient" still lifes. I did not escape this temptation even the short-term supporter of the theories of Winelman, David teacher - Joseph-Marie Vienne. Such elements can be found in the early paintings of David - for example, on the canvas "Antioch and Strathonik" (1774) or "Veliar" (1781). View of the viewer So and then distract from the main plot numerous details that are saturated composition.

David Jacques Louis - Antioch and Strathonik 1774. School of Fine Arts, Paris.

But after a few years everything changes. If you contact this artist's canvases, as, say, "Goraciyev Oath" (1784) or "Death of Socrates" (1787), it can be noted that the composition has become easier, restrained.

This is the most famous picture of David. It reflects all the stylistic features of the artist. There are traces of the classical manner of Pussen with his addiction to expressive theater gestures, and recreation of an ancient atmosphere. The plot of the paintings taken from the old legend belonging to the VII century to our era. At that time, Rome fought against the neighboring city of Alba Long, and it was announced that the conflict should allow a duel between three Roman brothers from the genus Goraciyev and three brothers smoking from Alba Long. These families had to be mixed, so it was originally clear that in such a battle there could be no winners. After the fight, only one of the Goraciye brothers remained, but, returning to the triumph of home, he was cursed by his own sister for the murder of her bridegroom, one of the Kuriacian brothers. Being coming, he hit his sister with a knife, for which he was sentenced to death (but later pardoned).
At first, the source of inspiration for David was the play of Cornel "Horace", but it did not have an oath scene. Details of the military oath David borrowed from Poussin, and the idea of \u200b\u200bthe oath itself was, apparently taken by the artist from the legend of Brute.

Change occurred after staying David in Italy (1775-80), it was then that the artist decided to get rid of those preferring the main idea of \u200b\u200bthe details. As he said later, "in my taste, thoughts, even behavior sometimes broke out something barbaric, then what I had to give up if he wanted to achieve depth and transparency in his paintings." Not only acquaintance with ancient art played a big role here, but also studying the artist's works by the works of Italian Masters of the Renaissance, primarily Raphael and Caravaggio. "I feel as if I was removed to Cataract. From my eyes fell by the paddle, and I now understand how weak and imperfect my style, based on fake principles, and how much I have to do in order to get closer to the sparkling truth. Blind copying Nature seems unworthy, vulgar occupation, you need to strive above, to the level of antique masters and Raphael ... "

The achievement of Jacques Louis David can be considered that he managed to convey in his works the very essence of the ethical ideals of ancient Greece and Rome - virtue, heroism, self-sacrifice. To distinguish the thought, the artist refused complex persons and various tricks with a perspective, from an excess of architectural details, furniture. Gradually, David minimized the number of figures in his compositions, refused the picturesque background. What is happening in the picture, he concluded in the likeness of the theater box, and the characters seemed to bring to the Ramp.

David's most famous masterpieces related to the flow of neoclassicism were written by him in the 1780s. Winkelman noted that the great picture can be written only in silence and rest, away from the worldly bustle. It was in such conditions that David worked on the "death of Socrates" and "Goraciyev's".

With the beginning of the Great French Revolution, the artist turned to the rapid events, which was fundamentally affected by his manner. Now, leaving your head in politics, David wrote hurriedly, excitedly, in the works of him there were elements related to the artist's belts with an emerging in painting the flow, which will later be called romanticism.

Signs of romanticism are especially obvious in the picture "Napoleon on Saint-Bernard Pass" (1800), where the cloak of the conqueror flutters in the wind, and in the preliminary, made pen and ink with a picture for the picture "Oath in the Game Hall" (1791), where The curtains raging from the wind emphasize the excited state of revolutionary rebounds.

The neoclassical style with the fall of Napoleon became a very quickly left of fashion with the fall of Napoleon - obviously, he was too much associated with the bloody events of the revolution. He came to change a softer, meeting the requests of the general public the style of Engra, David's student.

Revolutionary
David's views on painting were as inconstant as his political addiction. Starting as a follower of Rococo style, he after five years spent in Italy, rose to the position of a new course called neoclassicism. By the end of his life, the former revolutionary artist returns to the well-minded scenes from which he began his creative path. But after such cloths, as the "Goraciyev Oath" or "Liktors bring the Brute body of his executed sons", glorifying David, the last pictures seemed ridiculous.

This picture continues the topic, launched David in the "Oath of Horati", is a conflict between public and personal interests. Brut - the founder of the Roman Republic, decided to expel the royal genus from Rome, but his sons took the party to the royal power. Brut made a difficult choice - condemned his children to death. In those years, when David wrote this picture, a similar scene was not considered otherwise as a call for the overthrow of the monarchy.

For the creativity of David, realistic foundations, dramatic force, ideological purposefulness, which was particularly manifested in the years of the Great French Revolution, as well as the desire to capture current events of modernity. He handed his skill to a huge number of students, so Delacroa, giving him due David, called him a hence of the entire new school of painting and sculpture.

David Jacques Louis (1748-1825), French painter.

Born on August 30, 1748 in Paris in the family of rich bourgeois. Boy early
Found a tendency to drawing. In 1766, he was taken to the Royal Academy of Painting and Sculpture, where the artist J. M. Vieen became a teacher of David, who created paintings on antique plots. Having finished the Academy, a young painter, as was accepted then, went to an internship to Italy. There he spent four years (1775-1779). Upon returning to Motherland, David became a member of the Academy and regularly participated in its exhibitions.

Already in the early works of the master, the celebration of civilian courage and reason over thoughtless cruelty ("Fight Minerva and Mars", 1771). Now the ancient plots firmly entered the work of the artist. Romantic Civil Spirit was characteristic of the classicism of the pre-revolutionary era in France. The first work of David in this style is the canvas "Delicaria, asking the challenge" (1781). This underlines a strict picture, chanting the durability of a true citizen in adversity, immediately attracted the attention of the audience.

Another popularity of David is even more popular - "Goraziyev Oath" (1784) on the plot from Roman history. Three brothers from the notable genus Goraciyev defeated in the battle with the city of Alba-Long three of their opponents. And although two of the brothers died, the fight ended in favor of Romans, which brought them a quick and bloodless victory.

David worked at the state order: the Academy encouraged works, exciting patriotic feelings. In 1787, the painter created the painting "Death of Socrates", in 1789 - "Liktors bring the Brute of his sons." The last canvas was exhibited in Revolutionary Paris after the storming of Bastille and immediately became very popular. It was depicted by such familiar Parisians pictures - women mourn dead.

From that moment on, David became a recognized artist of the French Revolution. The picture "The oath in the ballroom" (1791) was not completed by the master, since most of her heroes - deputies of parliament - already in a year or found themselves in emigration, or fell victims of the Jacobin terror. In 1793, David writes the composition "Killed Lepellet" and "Death of Marata", combining the traits of the portrait and historical canvas in them. The artist himself was a member of the convention, participated in the creation of new revolutionary holidays. It was he who was entrusted to the organization of the National Museum in Louvre. After the arrival of Napoleon I, David became the main court painter. He turned out to be unusually fruit, made many portraits of the emperor ("Napoleon during the transition through Saint-Bernard", 1800, and others), his wife Josephine, courtiers (Madame Remiere, 1800,; portraits of four series, 1795 .) And the generals, and also captured the solemn events ("Coronation", 1805-1807).

After the defeat of Napoleon, David was forced to go to Brussels (1816), where he died on December 29, 1825

David Jacques Louis (1748-1825) - French painter.

Biography:

Jacques Louis David is a famous French artist.
Born on August 30, 1748 in Paris in the family of rich bourgeois. Boy early
Found a tendency to drawing. In 1766, he was taken to the Royal Academy of Painting and Sculpture, where the artist J. M. Vieen became a teacher of David, who created paintings on antique plots. Having finished the Academy, a young painter, as was accepted then, went to an internship to Italy. There he spent four years (1775-1779). Upon returning to Motherland, David became a member of the Academy and regularly participated in its exhibitions.
Already in the early works of the master, the celebration of civilian courage and reason over thoughtless cruelty ("Fight Minerva and Mars", 1771). Now the ancient plots firmly entered the work of the artist. Romantic Civil Spirit was characteristic of the classicism of the pre-revolutionary era in France. The first work of David in this style is the canvas "Delicaria, asking the challenge" (1781).

This underlines a strict picture, chanting the durability of a true citizen in adversity, immediately attracted the attention of the audience.

Another popularity of David is even more popular - "Goraziyev Oath" (1784) on the plot from Roman history.

Three brothers from the notable genus Goraciyev defeated in the battle with the city of Alba-Long three of their opponents. And although two of the brothers died, the fight ended in favor of Romans, which brought them a quick and bloodless victory.
David worked at the state order: the Academy encouraged works, exciting patriotic feelings. In 1787, the painter created the picture "Death of Socrates",

In 1789- "Liktors bring the Bruut of his sons." The last canvas was exhibited in Revolutionary Paris after the storming of Bastille and immediately became very popular. It was depicted by such familiar Parisians pictures - women mourn dead.

soviroving in them the features of the portrait and historical canvas. The artist himself was a member of the convention, participated in the creation of new revolutionary holidays. It was he who was entrusted to the organization of the National Museum in Louvre. After the arrival of Napoleon I, David became the main court painter. He turned out to be unusually fruit, made many portraits of the emperor ("Napoleon when moving through Saint-Bernard", 1800,