Neo-Classicism and Revolution: David and his school.

David, The Death of Seneca, 1773, Musée du Petit Palais, Paris

• Seneca was a stoic philosopher who committed suicide. The composition is standard of the mid 18th century, with some Rococo elements. Standard crowded History Painting composition. There is a soft treatment of the whole painting, masculine on one side, feminine on the other.

Elizabeth Vigee-Lebrun, Self-Portrait with a Straw Hat, 1782, National Gallery, London

Rubens, Susanne Lunden?, c. 1622-25, National Gallery, London

• Lebrun's self-portrait shows her posing herself as Rubens wife (Susanne Lunden). Both portraits offer a welcoming pose. 

David, Belisarius Receiving Alms, 1781, Musée des Beaux-Arts, Lille

• This paintings has an austere composition and austere background architecture. At this time this would have been taken as a comment on the treatment of soldiers. There was an increased patronage to the French state. There was a new moralistic kind of painting, away from the erotic themes of Rococo, this fitted in to some extent to the reform programme. 

David, Andromache Mourning Hector, 1783, Louvre, Paris

• Hector was a great trojan war hero. Lots of paintings depicted virtuous Neo-Classical widows who were devoted to their husbands. This painting has fairly stark light and a certain 17th century feel about it (light and dark).

Poussin, The Death of Germanicus, 1627, Minn Inst

• There is a reoccurring theme - public servants of the state who are not treated well by their masters. There is a dark background for the hero who is dying. Certain chiaroscuro with the awning and austere architecture. 

David, The Oath of Horatii, 1784, Louvre, Paris

• Three brothers who swear on their swords (held by their father) to defend Anceint Rome from neighbouring towns. Simpler composition that other paintings of the time, with fewer figures and less background noise and more focus on the subject. The architecture frames the figures. The architecture is unadorned and austere, 'more masculine'. Critics said that the composition is harsh, jarring, crude, no sensibility, taste and refinement. Crow talks about language of austerity in Neo-Classicism. Austerity linked with Severity and virtue. Stoicism, focus on virtuous life and no comforts. There is a very stoic language here, which becomes associated with the critics of the regime in the 1780s. The meanings of this style are Republican meanings. There is a contrast between the harsh forms of the men and soft forms of women. 

• Gender of Architecture (Read into!). Also look into The Change in the Structure of Feeling (William Reddy).

David, Portrait of Antoine-Laurent and Marie-Anne Lavoisier, 1788, Metropolitan Museum of Art, New York

• Enlightenment portrait of a loving couple who have in some ways a egalitarian relationship, they are dependent on each other. They are among the enlightened bourgeoisie.  

David, The Lictors Returning to Brutus the Bodies of his Sons, 1789, Louvre, Paris

• This is an image of extreme self sacrifice. The first Brutus (Republican) who sacrifices his sons because they are thought to be traitors. His wife and daughters can be seen in front of the awning and austere architecture. You can see the legs of one of the sons being brought in behind the statue of Roma. There is a contrast in the light. Brutus seems to be cast out from his family. There is something about the formal language of this painting, something very agonising about the shapes, such as the severe profile of the chair in the centre of the image. The architecture would have agonised the academy as it breaks up the painting, creating a jarring division.

David, The Tennis Court Oath, 1791, Versailles Museum

• French people were divided into three before the revolutions, 1st - Aristocracy, 2nd - Clergy and 3rd - State, the people. They are nothing but shall be everything. In this sketch, the clergy swears friendship to the leader of the people. Tom Payne, born in Britain, was very important in the American Revolution. He visited the French revolution and declared solidarity of it, but he was thrown into prison for sympathising with the moderates.

David, Madame Trudaine, c. 1792, Louvre, Paris

• This is an enlightenment portrait. The language of portraiture has become less and less interested in gentility and luxury, all you get is vivid reality, reflection of personality.

David, The Death of Marat, 1793, Museée Royaux des Beaux-Arts, Brussels

• Revolutionary Marat. Interestingly David has used paint a black wall behind Marat, although there is not a lot going on, it is very eloquent. David makes space, emptiness speak dramatically. Half way down the painting, is the head of Marat. Chiaroscuro. He uses a packing case as his writing desk. He was rebelling against opulence. A martyr for the nation. Represented like a martyr. This painting was part of revolutionary propaganda.

Girodet, Portrait of J. B. Belley, Deputy for Sainte-Domingue, 1797, Musée National du Château, Versailles

• Girodet was one of David's pupils. His Portrait of J. B. Belley, Deputy for Sainte-Domingue was based on C. L. R. James' play Black Jacobins, which was about a revolt by the slaves. There is a bust of a white enlightenment philosopher behind him, in connection with the enlightenment in Europe and representation of the slave trade. 

David, The Intervention of the Sabine Women, 1799, Louvre, Paris

• This painting illustrates life-size figures, there is a Neo-Classical stability about it, a frieze-like composition.

Guerin, The Return of Marcus Sextus, 1799, Louvre, Paris

• This paintings shows the mourning of his wife, it is also a meditation of the death of the last 10 years.

David, Bonaparte, Calm on a Fiery Steed, Crossing the Alps, 1801, Musée National du Château de Malmaison, Rueil

• This is a liminal painting. There is a sense of the sublime. Napoleon is on the same scale as the mountains, his army seem small beneath his feet. He is on an excessive or sublime scale. There are some Romantic elements, as well as elements of Neo-Classicism in that it is an equestrian portrait. It has a stabilising X composition, Neo-Classical stability, but on the other hand, a Romantic wind is also present.

Girodet, Ossian Receiving the Ghosts of French Heroes, 1802, Musée National du Château de Malmaison, Rueil

• This painting has many very Romantic elements. We can see that irrationality is creeping into the Neo-Classical outlook and composition. 

Ingres, Napoleon I on his Imperial Throne, 1806, Musée de l'Armée, Paris

• This painting has lots of reference to Charlemagne. The frontality and flatness nd imperal overtones received many criticisms.

David, Napoleon in his Study, 1812, National Gallery of Art, Washington DC

• This portrait was much more popular than Ingres'.