Jacques-Louis David: in Quest of a Hero
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YYYYYYYYYYYYYYYYY CALIFORNIA ART CLUB NEWSLETTER Jacques-Louis David: In Quest of a Hero by Elaine Adams rphaned at nine, esteemed artist by thirty- Othree, execution judge at forty-five and exiled at sixty-eight; Jacques-Louis David’s (1748–1825) life was led on a tumultuous path while he searched for a paradigm of virtue. When David was only nine his garrulous father, Louis-Maurice, a prominent Parisian merchant, was challenged to a pistol duel and killed. Little is known of David’s mother Marie-Geneviève Buron, except that after she became a widow she deposited her son in the care of her two brothers. David’s uncles, François Buron (1731–1818) and Jacques-François Desmaisons (c. 1720–1789) were both master masons and architects; Desmaisons was a member of the Royal Academy of Architecture and worked for King Louis XVI. His uncles, as well as his aunt Marie- Josephe and cousin Marie-Francoise all recognized young David’s natu- ral skills for drawing and encour- aged his talent by posing for him. David’s education began at the Collège des Quatre Nations in Paris, but he was an unhappy pupil. He later wrote, “I hated school. The masters always beating us with sticks and worse. I was always hid- ing behind the instructors’ chair, Jacques-Louis David drawing for the duration of the Bonaparte Crossing the Alps at Grand-Saint-Bernard, 1800-01 class.” David’s uncles decided to Oil on canvas 103Љ ϫ 87Љ send him to the medieval painter’s Collection of Musée National des Châteaux de Malmaison et Bois-Préau, guild Académie de Saint-Luc for Reuil-Malmaison drawing classes. David’s wish was to be intro- duced to his mother’s famous dis- had hopes of studying with him. It with Boucher. However, it is sur- tant cousin François Boucher is not clear how David and Boucher mised that Boucher perceived a (1703–1770). Boucher was an were introduced, perhaps through petulant disposition in David that undisputed leader in the established his mother’s intervention, nor is it would not be suited for the gentility Rococo art movement, and David certain if David actually studied of Rococo. Boucher referred David California Art Club www.californiaartclub.org Spring 2005 YYYYYYYYYYYYYYYYY2 to Joseph-Marie Vien (1716–1809), of Rococo and yearned for classical unearthing was that of the Theatre who was gaining recognition as a themes examining virtue, nobility of Hercules, which led to the con- leader in the burgeoning historical and patriotism. The recent and firmation that they had discovered genre painting or le style grande. continuing archaeological findings the ancient City of Herculaneum. From 1766 to 1774 David near the Bay of Naples created a The next significant discovery at apprenticed with Vien at his studio colossal sensation throughout Herculaneum was Villa dei Papiri. and studied at the Académie Royale Western Europe and inspired an era The villa, once home to Lucius de Peinture et de Sculpture. Initially of rediscovering their classical Calpurnius Piso, father of Julius David rejected Vien’s doctrine of Greco-Roman roots in architecture, Caesar’s wife Calpurnia, with its meticulous realism, preferring fashion, philosophy and politics. virtually undamaged frontage of Boucher’s lively Rococo approach This was an era that became 820 feet lined with sixty-four and is quoted to have praised his known as the “Age of columns and ninety statues was idol by saying, “Not everyone can Enlightenment.” heralded as an example of the paint like Boucher.” Ironically, In 1738 the eighteen-year-old finest artistic magnitude. In 1748, David eventually became a catalyst King Charles of Naples and Sicily the same year that David was born, for the demise of the Rococo style. ordered excavations to begin in the the nearby City of Pompeii was dis- Many artists, critics and philoso- areas where fragments of ancient covered. Nine years later, Francesco phers of the day grew weary of marble, statues and frescoes had Valletta, secretary of the what they perceived as the frivolity been found. The first substantial Herculaneum Academy, an institu- tion created by King Charles to study archaeological discoveries, published the first of eight volumes called Le Antichité di Erocolano Esposte (An Account of the Antiquities of Herculaneum). The publication became a major influ- ence on the development of the classical movement in Europe. In 1774 Louis XV died and Louis XVI ascended on the throne. In that same year David’s entry Antiochus and Stratonice, depicting a love story from Life of Demetrius by Greek essayist Plutarch (c. 46 AD-c. 120 AD), won him the Prix de Rome at the age of twenty-six from the Royal Academy. Before succeed- ing in winning this award he had entered and failed three times which led him into a deep depression that nearly drove him to suicide by star- vation. The annual Prix de Rome was a fierce competition of extremely high standards and was entered by a maximum of 100 top male art students, all French citi- zens and all under the age of thirty. The advantage to receiving the award was that it granted the win- ner three to five years of extended Jacques-Louis David Self Portrait, 1794 (painted while in Luxembourg Prison) Oil on canvas 31 7/8Љ ϫ 25 5/8Љ Collection of Musée du Louvre, Departement des Peintures California Art Club www.californiaartclub.org Spring 2005 YYYYYYYYYYYYYYYYY3 study at the French Academy in In 1781 David was elected an Rome and highlighted the artist’s Associate member of the Royal YYYYYYYYYYYYY career potential. Prior to David’s Academy and exhibited at his first arrival in Rome the Boucher-enthu- Salon (exhibition held in the Salon siast is quoted to have remarked, d’Apollen in the Louvre) with his CALIFORNIA ART CLUB “the antique isn’t going to seduce earliest classical composition, NEWSLETTER me, it lacks life, it leaves you cold.” Belisarius. It was clear that this lat- est work with its grandiose archi- Spring 2005 n Rome of the 1760s the tectural features, expressive power German art historian, archaeolo- and moral message was following Contents Igist and moral philosopher Poussin’s influence and departing Jacques-Louis David Johann Wincklemann (1717–1778) from that of Boucher. by Elaine Adams urged artists to study and “imitate” The following year, thirty-four- Pages Cover – 8 the timelessness of classical ideal year old David was made a full forms. His enthusiasm for antiqui- Royal Academician with his paint- Peter Brooke ties gained him an international fol- ing Andromache Mourning Hector. by Molly Siple lowing of artists that included the Also in that same year he married Pages 9 – 11 German expatriate Anton Raphael the seventeen-year old Marguerite- Mengs (1728–1779), the Scot Charlotte Pècoul (1765- ), daughter Today’s Art Education Gavin Hamilton (1723–1798), and of a successful building contractor. by Vern A. Swanson, Ph. D. the American Benjamin West David admired and appreciated her Page 12 – 13 & 30 (1738–1820). These classical devo- as a “woman whose virtues and News Briefs tees helped spread the art move- character had assured the happiness Pages 14 – 15 ment in their own countries. of his life.” The following year their David was invigorated by the first son Charles-Louis-Jules was CAAM Workshops five years he spent in Rome study- born and in 1784 Marguerite gave Pages 15 – 16 ing from antique casts, classical birth to their second son Eugène. statues, and the Renaissance mas- The public’s interest for classical Call for Entries ters, which he felt was far more art and the ancien régime was gain- Page 16 instructive than anything he had ing great momentum. However, the learned during his eight years at the major collectors were not eager to Paint-Outs Academy. He was particularly abandon their beloved Rococo Page 16 inspired by the austere paintings of paintings filled with playful themes Donor Recognition Nicolas Poussin (1594–1665) and and soft pastel tones in exchange Page 17 the classical lines of Raphael for buying large-format paintings (1483–1520), and wrote a tribute that emphasized severe forms and Exhibitions to his artistic hero Raphael: strict moral messages. (Note: The Pages 18 – 25 term Neoclassicism to identify this “Divine Raphael! It was you genre of art was not used until the Membership News who led me, step by step, to mid-nineteenth century.) Royal art Pages 26 – 28 antiquity. It was you, sublime commissions were invaluable to painter, who managed to artists for several reasons including In Memoriam come closest to these inim- providing opportunities to create Pages 28 – 29 itable models. You yourself large-scale works, gaining entrée New Members made me realize that the into high social circles, assuring Page 30 antique was greater even than inclusion into important collections, you. It was you, kindly, help- and chiefly, promoting artists’ Board of Directors ful painter that set my chair in careers and thereby building Page 31 front of the sublime remains demand for their works. of antiquity. Their beauties King Louis XVI granted David a Collectors’ Circle Corner were revealed to me by your commission to create a historical Page 31 erudite and graceful paintings. painting that was unique to the Collectors’ Circle Activities In return for my admiration, artist. For inspiration and research Back Page will you do me the favour to the artist decided to resettle in consider me—even with three Rome for one year. The following CAC Programs hundred years between us—as year he returned to Paris with a Back Page one of your pupils? ...” theme that was based on a 669 BC California Art Club www.californiaartclub.org Spring 2005 YYYYYYYYYYYYYYYYY4 Paris to the governing body of the National Convention.