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Jacques-Louis David
death of marat
mk247
1793,oil on canvas,65x50 in,165x127 cm,musees royaux des beaux arts,brussels,belgium
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Jacques-Louis David
portrait of madame recamier
mk247
1800,oil on canvas,68.875x96.125 in,175x244 cm louvre,paris,france
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Jacques-Louis David
napoleon crossing the alps
mk247
1801,oil on canvas,107x91 in,272x230 cm,louvre,paris,france
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Jacques-Louis David
Special Lu generation of Nafu person portrait
mk255 for in the years 1791-1792. 1.30 x 0.98 meters canvas. Paris, the Louvre
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Jacques-Louis David
Sorrow
535 x 410 mm ?cole Nationale Sup?rieure des Beaux-Arts, Paris Although defeated in the Prix de Rome in 1773, David had the satisfaction of winning the prize for the best drawing of an expressive head, with his image of Sorrow. Author: DAVID, Jacques-Louis Title: Sorrow Form: graphics , 1801-1850 , French , portrait
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Jacques-Louis David
The Grief of Andromache
1782 Black chalk, pen and ink with gray wash, 290 x 246 mm Mus?e du Petit Palais, Paris This is a preparatory drawing for his painting, in which David borrowed elements from the works of Nicolas Poussin and the reliefs of antique sarcophagi. Author: DAVID, Jacques-Louis Title: The Grief of Andromache Form: graphics , 1801-1850 , French , study
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Jacques-Louis David
Portrait of Marie
1769 Oil on canvas, 66 x 54 cm Musee National des Beaux-Arts, Algiers As with many other young artists, David used his close relatives as models for his first portraits. As well as his uncle Buron, he also painted his aunt, Marie-Josephe, and her daughter, Marie-Franeoise, who had supported his wish to become a painter. Both paintings show a directness of approach and a sympathetic contact between artist and sitter that anticipate David's later successes in portraiture. Artist: DAVID, Jacques-Louis Title: Portrait of Marie-Franeoise Buron , painting Date: 1801-1850 French : portrait
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Jacques-Louis David
Hector
Oil on canvas, 123 x 172 cm Musee Fabre, Montpellier David discovered the dramatically lit and forceful canvases of Caravaggio and his followers, and his full-length male nude and semi-nude studies such as Hector of 1778 and Patroclus of 1780 show how he had begun to use light and shadow to give weight and density to his figures. Artist: DAVID, Jacques-Louis Title: Hector , painting Date: 1801-1850 French : other
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Jacques-Louis David
Count Potocki
1781 Oil on canvas, 304 x 218 cm Muzeum Narodowe, Warsaw David received a lucrative commission for a grand portrait of a Polish nobleman, Count Stanislas Potocki. Although begun in Rome, the painting was actually completed a little later in Paris. Potocki came from one of the most celebrated Polish families, and had recently become very wealthy thanks to his wife's dowry. He was also a scholar, and translated and commented on the work of Winckelmann. Obviously his portrait had to be impressive and suggestive of his status. Therefore David depicted him on horseback, subduing a skittish horse with consummate ease. David turned to the example of the great Baroque portraitist Anthony van Dyck to create a work that was similar in scale and impact. Artist: DAVID, Jacques-Louis Title: Count Potocki , painting Date: 1801-1850 French : portrait
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Jacques-Louis David
Portrait of Jacques
Desmaisons 1782 Oil on canvas, 92 x 72 cm Albright-Knox Art Gallery, Buffalo After the death of his father following a pistol duel in December 1757, aged thirty-five, David was placed successively in the care of two uncles, Franeois Buron (1731-1818) and Jacques-Francois Desmaisons (c. 1720-1789), who were both architects and building contractors. Artist: DAVID, Jacques-Louis Title: Portrait of Jacques-Franeois Desmaisons , painting Date: 1801-1850 French : portrait
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Jacques-Louis David
The Oath of the Horatii
1784 Oil on canvas Musee du Louvre, Paris The Oath of the Horatii proved to be a triumph for David. The public was overwhelmed by his break with the Baroque stylistic tradition. For the first time, the unity of time and action had been brought into a deliberately severe composition. The story of the passionate readiness of these heroes for self-sacrifice was known, and it was also recognized that the weeping women in the composition are an expression of foreboding, symbols of the tragedy to come. Artist: DAVID, Jacques-Louis Title: The Oath of the Horatii (detail) , painting Date: 1801-1850 French : historical
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Jacques-Louis David
liktorerna hemfor till brutus hans soners lik
olja pa duk 28x35
se
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Jacques-Louis David
Portrait of Madame de Verninac
1798-1799
Medium Oil on canvas
Dimensions Deutsch: 146 ?? 112 cm
cyf
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Jacques-Louis David
Antoine Francais de Nantes.
Portrait par Jacques-Louis David, 1811. Musxe Jacquemart-Andrx, Paris.
cjr
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Jacques-Louis David
Madame Raymond de Verninac
1798-1799
Medium Oil on canvas
cyf
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Jacques-Louis David
Portrait of Philippe Laurent de Joubert
1786(1786)
Medium Oil on canvas
Dimensions 127 x 96 cm (50 x 37.8 in)
cyf
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Jacques-Louis David
Countess of Sorcy
1790(1790)
Medium Oil on canvas
Dimensions 129 x 97 cm (50.8 x 38.2 in)
cyf
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Jacques-Louis David
Self portrait
1794(1794)
Medium Oil on canvas
Dimensions 80.5 x 64.1 cm (31.7 x 25.2 in)
cyf
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Jacques-Louis David
Self portrait
1794(1794)
Medium Oil on canvas
Dimensions 80.5 x 64.1 cm (31.7 x 25.2 in)
cyf
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Jacques-Louis David
The Death of Socrates
1787(1787)
Medium Oil on canvas
cyf
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| Jacques-Louis David
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French
b.Aug. 30, 1748, Paris
d.Dec. 29, 1825, Brussels
Jacques-Louis David is famous for his huge, dramatic canvasses of Napoleon and other historical figures, including Oath of the Horatii (1784), Death of Marat (1793) and The Sabine Women (1799). Early in his career he was a leader in the neoclassical movement; later his subjects became more modern and political. David was himself active in the French Revolution as a supporter of Robespierre and is sometimes called the chief propagandist for the Revolution; after the Reign of Terror ended he was briefly imprisoned for his actions. When Napoleon took power David became his court painter and created several grand canvasses of the Emperor, including the heroic Napoleon Bonaparte Crossing the Alps (1801) and the enormous Coronation of Napoleon and Josephine (1807). David also painted Napoleon in His Study (1812), with its famous image of Napoleon with one hand tucked inside his vest. After Napoleon ouster David went in exile to Brussels, where he remained until his 1825 death
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