DAVID  ,JACQUES See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

LOUIS (1748-1825), See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris on the 30th of See also:

• APRIL

April 1748 . His See also:

• FATHER

father was killed in a See also:

• DUEL (Ital. duello, Lat. duellum—old form of bellum-from duo, two)

duel, when the boy was but nine years old . His See also:

• EDUCATION

education was begun at the See also:

• COLLEGE (Collegium)

College See also:

• DES

des Quatre Nations, where he obtained a smattering of the See also:

• CLASSICS

classics; but, his See also:

• ARTISTIC

artistic See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent being already obvious, he was soon placed by his See also:

• GUARDIAN

guardian in the studio of See also:

• FRANCOIS (1558-1614)

Francois See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher . Boucher speedily realized that his own erotic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style did not suit the lad's See also:

• GENIUS (from Lat. genere, gignere)

genius, and recommended him to J . M . See also:

• VIEN, JOSEPH MARIE (1716-1809)

Vien, the See also:

• PIONEER

pioneer of the classical reaction in See also:

• PAINTING

painting . Under him David studied for some years, and, after several attempts to win the prix de See also:

• ROME
• ROME (Roma)

Rome, at last succeeded in 1775, with his " Loves of See also:

• ANTIOCHUS

Antiochus and Stratonice." Vien, who had just been appointed director of the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy at Rome, carried the youth with him to that See also:

• CITY (through Fr. cite, from Lat. civitas)

city . The classical reaction was now in full See also:

• TIDE (O. Eng. lid, cf. Ger. Zeit, time or season, connected with root of Sanskrit a-diti, endless)

tide; See also:

• WINCKELMANN, JOHANN JOACHIM (1717-.1768)

Winckelmann was See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing, See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael See also:

• MENGS, ANTONY RAPHAEL (1728-1779)

Mengs painting; and the treasures of the Vatican galleries helped to confirm David in a See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste already moulded by so many kindred influences . This severely classical spirit inspired his first important painting, " Date obolum Belisario,"- exhibited at Paris in 1780 . The picture exactly suited the See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper of the times, and was an immense success . It was followed by others, painted on the same principles, but with greater perfection of See also:

• ART

art: " The Grief of See also:

• ANDROMACHE

Andromache " (1783), " The See also:

• OATH (0. Eng. ddh)

Oath of the See also:

• HORATII

Horatii " (Salbn, 1785), " The See also:

• DEATH

Death of See also:

• SOCRATES

Socrates," " Love of Paris and See also:

• HELEN

Helen " (1788), " See also:

• BRUTUS (originally an adjective meaning " heavy," "stupid," kindred with Gr. aap(s, cf. Eng. " brute," " brutal")

Brutus " (1789) . In the French See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama an unimaginative See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• MODELS

models had See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long prevailed; even in art Poussin and Le Sueur were successful by expressing a See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

bias in the same direction; and in the first years of the revolutionary See also:

• MOVEMENT

movement the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of imitating the ancients even in See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress and-See also:

• MANNERS, CHARLES (1857– )

manners went to the most extravagant length .

At this very See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time David returned to Paris; he was now painter to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, Louis XVI., who had been the purchaser of his See also:

• PRINCIPAL

principal See also:

• WORKS

works, and his popularity was soon immense . At the outbreak of the Revolution in 1789, David was carried away by the See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

flood of See also:

• ENTHUSIASM

enthusiasm that made all the See also:

• INTELLECT (Lat. intellectus, from intelligere, to understand)

intellect of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France believe in a new era of equality and emancipation from all the ills of See also:

• LIFE

life . The success of his See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch for the picture of the " Oath of the See also:

• TENNIS (sometimes called royal tennis, and, in America, court tennis)

Tennis See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court," and his pronounced republicanism, secured David's See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

election to the See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

Convention in See also:

• SEPTEMBER (Lat. septem, seven)

September 1792, by the See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

Section du Museum, and he quickly distinguished himself by the See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence of two French artists in Rome who had fallen into the merciless hands of the See also:

• INQUISITION, THE (Lat. inquisitio, an inquiry)

Inquisition . As, in this See also:

• MATTER

matter, the behaviour of the authorities of the French Academy in Rome had been dictated by the tradition of subservience to authority, he used his See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence to get it suppressed . In the See also:

• JANUARY

January following his election into the Convention his See also:

• VOTE

vote was given for the king's death . Thus the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man who was so greatly indebted to the See also:

• ROMAN

Roman academy and to Louis XVI. assisted in the destruction of both, no doubt in obedience to a principle, like the See also:

• ACT (Lat. actus, actum)

act of Brutus in condemning his sons—a subject he painted with all his See also:

• POWERS, HIRAM (1805-1873)

powers . See also:

• CATO, DIONYSIUS
• CATO, MARCUS PORCIUS (234—149 B.c.)
• CATO, MARCUS PORCIUS (95-46 B.c.)
• CATO, PUBLIUS VALERIUS

Cato and stoicism were the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . Hitherto the actor had walked the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage in See also:

• MODERN

modern dress . Brutus had been applauded in red-heeled shoes and culottes jarretees; but See also:

• TALMA, FRANCOIS JOSEPH (1763-1826)

Talma, advised by David, appeared in toga and sandals before an enthusiastic See also:

• AUDIENCE (from Lat. audire, to hear)

audience . At this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his life Mademoiselle de See also:

• NOAILLES

Noailles persuaded him to paint a sacred subject, with See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ as the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero . When the picture was done, the Saviour was found to be another Cato . " I told you so," he replied to the expostulations of the See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady, " there is no See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration in See also:

• CHRISTIANITY

Christianity now!" David's revolutionary ideas, which led to his election to the See also:

• PRESIDENCY

presidency of the Convention and to the See also:

• COMMITTEE (from commute, an Anglo-Fr. past participle of commettre, Lat. committere, to entrust; the modern Fr. equivalent comite is derived from the Eng.)

committee of See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• SECURITY (Lat. securus, free from care, safe)

security, inspired his pictures " Last Moments of Lepelletier de See also:

• SAINT (lat. sanctus, " holy ")

Saint-Fargeau " and " See also:

• MARAT, JEAN PAUL (1743-1793)

Marat Assassinated." He also arranged the See also:

• PROGRAMME, or PROGRAM

programme of the principal republican festivals .

When See also:

• NAPOLEON

Napoleon See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power David became his enthusiastic admirer . His picture of Napoleon on horseback pointing the way to See also:

• ITALY
• ITALY (Italia)

Italy is now in See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin . During this period he also painted the" See also:

• RAPE
• RAPE (from Lat. rapere, to seize)
• RAPE (Lat. rapum or rapa, turnip)

Rape of the Sabines" and "See also:

• LEONIDAS

Leonidas at See also:

• THERMOPYLAE (Gr. OepµSs, hot, and 1rf)X,

Thermopylae." Appointed painter to the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor, David produced the two notable pictures "The See also:

• CORONATION (Lat. corona, crown)

Coronation " (of See also:

• JOSEPHINE (MARIE ROSE JOSEPHINE TASCHER DE LA PAGERIE) (1763–1814)

Josephine) and the " See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

Distribution of the Eagles." On the return of the Bourbons the painter was exiled with the other remaining regicides, and retired to See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, where he again returned to classical subjects: " Amor quitting See also:

• PSYCHE (//vxi7)

Psyche," " See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars disarmed by See also:

• VENUS

Venus," &c . He rejected the offer, made through See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron See also:

• HUMBOLDT, FRIEDRICH HEINRICH ALEXANDER, BARON
• HUMBOLDT, KARL WILHELM VON (1767-1835)

Humboldt, of the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of See also:

• MINISTER (Lat. minister, servant)

minister of See also:

• FINE

fine arts at Berlin, and remained at Brussels till his death on the 29th of See also:

• DECEMBER (Lat. decent, ten)

December 182 5 . His end was true to his whole career and to his See also:

• NATIONALITY

nationality . While dying, a See also:

• PRINT

print of the Leonidas, one of his favourite subjects, was submitted to him . After vaguely looking at it a long time, " Il n'y a que moi qui pouvais concevoir la tete de Leonidas," he whispered, and died . His See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and his party thought to carry the See also:

• BODY

body back to his beloved Paris for See also:

• BURIAL

burial, but the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government of the day arrested the procession at the frontier, an act which caused some See also:

• SCANDAL

scandal, and furnished the occasion of a terrible See also:

• SONG

song of See also:

• BERANGER, PIERRE JEAN DE (178o-1857)

Beranger's . It is difficult for a See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation which has witnessed another See also:

• COMPLETE

complete revolution in the See also:

• STANDARDS

standards of artistic taste to realize the See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of David's immense popularity in his own day . His style is severely See also:

• ACADEMIC

academic, his See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour lacking in richness and warmth, his See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution hard and uninteresting in its very perfection . Subjects and treatment alike are inspired by the passing fashion of an See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age which had deceived itself into believing that it was living and moving in the spirit of classical antiquity . The inevitable reaction of the romantic movement made the masterpieces, which had filled the men of the Revolution with enthusiasm, seem See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold and lifeless to those who had been taught to expect in art that See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere of See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery which in nature is everywhere See also:

• PRESENT

present .

Yet David was a See also:

• GREAT

great artist, and exercised in his day and generation a great influence . His pictures are magnificent in their See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and their draughtsmanship; and his keen observation and insight into See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character are evident, especially in his portraits, notably of Madame See also:

• RECAMIER, JEANNE FRANCOISE JULIE ADELAIDE (1777-1849)

Recamier, of the Conventional See also:

• GERARD (c. 1040-1120)
• GERARD (d. I1o8)
• GERARD, ETIENNE MAURICE, COUNT (1773–1852)
• GERARD, FRANCOIS, BARON (1770-1837)
• GERARD, JEAN IGNACE ISIDORE (1803-1847)
• GERARD, JOHN (1545-1612)
• GERARD, or GIRARD, AUDRAN

Gerard and of See also:

• BOISSY

Boissy d'Anglas . See E . J . Delecluze, Louis David, son ecole et son temps (Paris, 1855), and Le Peintre Louis David . Souvenirs et documents inedits, by J . L . Jules David, the painter's See also:

• GRANDSON (Ger. Grandsee)

grandson (Paris, 1880) .