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Satish Padiyar, Last Words: David's Mars Disarmed by Venus and The RIHA Journal 0023 | 01 June 2011 Last Words: David's Mars Disarmed by Venus and the Graces (1824). Subjectivity, Death, and Postrevolutionary Late Style Satish adiyar eer-revie# and editing organi%ed by: The Courtauld Institute of Art, London &evie#ers: Sarah Betzer, Susan Sie fried 'bstract Completed as he was approaching death in 1825, Jacques-Louis David's inal re ractor! histor! painting is an intricate summation o a li e in politics and painting" #he article attempts to re-interpret the canvas in relation to the dual pro$lem o 'late st!le' and the condition o e%ile" I argue that this histor! painting invo'es the metaphor o non-se% or the condition o e%ile( and as a late gesture stages an anomalous return to a pre- lapsarian eighteenth centur!" #he painting, I conclude, reveals less the transcendent su$)ectivit! o an artist approaching $iological death, than the critical disarming o a once-radical neoclassical aesthetic itsel , in its tragic late phase" (ontents Fare"ell to #aintin A S$hizo%hrenic Su&'e$t in ()ile #aintin on the Far Shore *&ack to the Roco$o, The -eta%hor of .on/Se) in ()ile Acti0atin the 1ra$es T"o Cro"ns Conclusion The force of subjectivity in late works is the irascible gesture with which it leaves them. It bursts them asunder, not in order to express itself but, expressionlessly, to cast off the illusion of art. Of the works it leaves only fragments behind, communicating itself, as if in ciphers, only through the spaces it has violently vacated. *dorno, +Late ,t!le in -eethoven" )are#e!! to aintin$ .1/ & it is true that the nearer one comes to death the more vividl! distant memories are stirred up, then David's last pu$lic histor! painting, Mars isarmed by !enus and the "races, completed in -russels some twent! months $e ore his death in Decem$er 1825, should constitute a veritable 0roustian archive 1 ig" 12" .2/ *s David was drawing to his death, he decided to e%hi$it the wor' to audiences in 3estoration 0aris and in politicall! neutral -russels, where he had settled in e%ile or almost a decade" 4hen it was e%hi$ited in 0aris in the spring o 1825, the pu$lic and critics were astonished that at the age o sevent!-si% David's am$ition and his painterl! virtuosit! was undiminished"1 1 &n 1825, several reviews emphasi6ed the remar'able +)eunesse+ and vigour o the e%ecution o the painting" ,ee, or e%ample, *dolphe #hiers, +De 7" David et de son dernier tableau", #evue License: This text is provided under the ter3s of the Creative Co3mons License CC-BY/NC-ND 3.06 RIHA Journal 0023 | 01 June 2011 1 Jacques-Louis David, Mars Disarmed by Venus and the Graces, 1824, oil on canvas, 308 x 262 cm. Musées royaux des Beaux-Arts de Belgique, Brussels (= Ro<al Museums of Fine Arts of Belgium, Brussels [dig. photo: J. Gele<ns / """6roscan.be@, .8/ *lthough one contemporar! scholar has hailed Mars isarmed as David's +ultimate achievement, almost superhuman+, the painting has $een relativel! ignored in the scholarl! literature on David"2 9ne reason or its neglect is that until ver! recentl! David's wor' during the period o :mpire and then e%ile in -russels 118;5-18252 has $een Europ%enne, 1825, 885-88<( reprinted in "azette des 'eaux()rts, *pril 18=8, 2<5-8;5 1& will hence orth re er to this latter version)" >or a $i$liography o earl! reviews see *ntoine ,chnapper and *rlette ,?rullaz, *ac+ues(Louis avid -./0(-012, 0aris, 1<8<, 551" #he $est critical anal!sis o the painting's critical reception in 1825 is Daniel @ar'ett, +#he 0arisian :%hi$ition o Jacques-Louis David's Mars isarmed by !enus and the "races 118252+, in Daniel @ar'ett, Exhibition 3ulture in #estoration 4aris, unpublished 0hD, -rown Aniversit!, 2;;5( and the published Daniel @ar'ett, +3evelation, Barrative, 3uptureC Diewing David in 3estoration 0aris+, in avid after avid5 Essays on the Later 6ork, ed" 7ar' Led$ur!, Williamstown, 7assachusetts, 2;;=, 815-82;" ,ee also Doroth! Johnson, *ac+ues(Louis avid. )rt in Metamorphosis, 0rinceton, 1<<8, 2E;-2=2( and -eth 4right, +'David, where are !ou'+ David's Continuing 0resence in 3estoration *rt Criticism+, in D" Johnson, ed", *ac+ues(Louis avid. 7ew 4erspectives, Delaware, 2;;E, 15=-5<" 2 0hilippe -ordes, *ac+ues(Louis avid. Empire to Exile, Bew @aven and London, 2;;5, 18<" >or modern commentar! on the painting see the catalogue entries in -..8(-098. )utour du néo( classicisme en 'elgi+ue, &%elles, 1<8E, 185-85( and ,chnapper and ,?rullaz, *ac+ues(,ouis avid, 551-52" ,ee also note 1 above, and @ubertus Fohle, +Jacques-Louis Davids ,til im :%il+, in :ünstlerischer )ustausch. )rtistic Exchange, ed" #homas 4" Gaehgtens, -erlin, 1<<8, Dol" &, 1=5- 8E" #he most e%tensive treatment has $een Doroth! Johnson, *ac+ues(,ouis avid5 )rt in Metamorphosis, 0rinceton, 1<<8, 2E;-=2" License: This text is provided under the ter3s of the Creative Co3mons License CC-BY/NC-ND 3.06 RIHA Journal 0023 | 01 June 2011 viewed as aestheticall! eccentric, politicall! retrograde and art historicall! insigni icant"8 Mars isarmed has in particular $een viewed as testi !ing to the historic e%haustion o >rench neoclassicism's moral or utopic orce, an argument in this essa! I will see' to illuminate rather than contradict"5 Het even with the remar'able recent rehabilitation o David's later wor' I all the major late wor's have now received e%tensive and pro$ing critical attention I Mars isarmed remains sorel! under-interpreted, i requentl! acknowledged as the most signi icant wor' o his later period"5 *s such, it constitutes something li'e a inal rontier o modern David studies.E .5/ 9 this 1in the words o *nita -roo'ner2 +terri !ingl! large+ wor', David wrote revealingl! to his ormer pupil Jean-*ntoine Gros in 9cto$er 1828 +it is m! inal arewell to painting+( a statement he was shortl! to go pu$lic with"= *s such, the painting openl! announces, and reckons with, a certain end, at once ine%tricabl! personal and cultural" Cultural, $ecause it mar's the end o the authorit! o the aesthetic o radicali6ed neoclassicism $egun $! David and his compeers in the 1=8;s: 1825, amousl!, is the !ear in which Delacroi%'s Massacre of 3hios and Constable's The <ay Wain proclaim themselves at the 0aris ,alon as the uture o a modern art"8 0ersonal, $ecause it announces the death o a certain su$)ect, or sel , Jacques-Louis David, whose once-radical political and se%ual 8 #he single e%ception is Doroth! Johnson's earl! path $reaking ocus on these wor's, in Doroth! Johnson, *ac+ues(,ouis avid5 )rt in Metamorphosis" 5 >or *gnJs @um$ert, the painting makes cruell! apparent a 'pathetic need to please' the 3estoration $ourgeoisie 1@um$ert, ,ouis avid, 4eintre et 3onventionnel. $ssai de criti+ue marxiste, 0aris, 1<8E2" >or -roo'ner there is no longer an! 'ought' to its classici6ing language 1*nita -roo'ner, *ac+ues(,ouis avid, London, 1<8;, 1852" Borman -r!son views it as +dismal+ 1Borman -r!son, Tradition and esire =rom avid to elacroix, Cam$ridge, England, 1<85, 1152( on the wor''s e%hausted antiquarianism see 3?gis 7ichel and 7arie-Catherine ,ahut, avid. ,>art et le politi+ue, 0aris, 1<88, 12E-2=" 9n the insistentl! negative modern reception o Mars isarmed, rom Louis 3osenthal 11<;52 to *ntoine ,chnapper 11<8;2 see Jean-Claude Le$ens6tejn, +@istoires -elges+, in avid contre avid5 )ctes du 3ollo+ue au ,ouvre, Dol" &&, ed" 3?gis 7ichel, 0aris, 1<8<, 1;18-5" 5 &n the important 1<8< Louvre e%hi$ition o David the painting was e%hi$ited and received due attention in the catalogue 1see note 1, ,chnapper and ,?rullaz2" @owever, in the 2;;5 e%hi$ition that aimed to signal a comprehensive rehabilitation o David's later wor', *ac+ues(Louis avid. Empire to Exile, Los *ngeles and Williamstown, 7assachusetts 1see note 2, -ordes2, it was stri'ingl! absent" 9n the curious omission o David's +last major statement+ see curator 0hilippe -ordes, +* ter the e%hi$ition in Los *ngeles and Williamstown", in avid after avid, 85=" -ordes predicts there, however, that +the time is near when it will $e possi$le to consider this picture with more informed e!es and more diversi ied angles o interpretation"" E 7ar' Led$ur! has astutel! o$served how since the 1<8;s David studies have shi ted ocus rom the prerevolutionar! to the 3evolutionar! to the postrevolutionar! igure o David" #he watershed 2;;5 $mpire to Exile e%hi$ition and the scholarship that emerged rom it mar'ed a urther stage in this +crescendo+ $! $uilding $e!ond 18;;" 7ar' Led$ur!, +&ntroduction", in avid after avid, viii" = *nita -roo'ner, *ac+ues(,ouis avid, 85" #he wor' was the largest David produced in e%ile I apart rom the repetition o the 3oronation of 7apoleon 1completed 18222 I and the onl! ull- length o all the e%ile m!thological paintings" #he canvas measures @" 8";8C L. 2"E2" +C'est mon dernier adieu K la peinture+, Jules David, avid, 0aris, 188;, 588-8<" >or the repetition as a public statement see Daniel and Guy Wildenstein, ocuments compl%mentaires au catalogue de l>oeuvre de ,ouis avid, 0aris, 1<=8, no" 1<55" +C'est le dernier tableau que )e veux aire, mais je veux m'! surpasser" J'! mettrai la date de mes =5 ans et je ne veux plus ensuite toucher un pinceau", ,>Oracle, 8th Decem$er, 1828, in Wildenstein, ocuments, no" 1<5=" #he 0aris e%hi$ition was then advertised $! EugJne as +l'e%position du dernier tableau de mon pJre+, *ournal des %bats, 2E 7a! 1825, as cited in Wildenstein, ocuments, no" 1<E;" License: This text is provided under the ter3s of the Creative Co3mons License CC-BY/NC-ND 3.06 RIHA Journal 0023 | 01 June 2011 identit! had $een de initivel! orged in the 0arisian political arena o 1=<8 and 1=<5, 'nown as
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