Abstract
This paper details Louis-Louis David's images of Napoleon Bonaparte. The paper argues that they are some of the most compelling, dramatic pieces of portraiture in all of art history and glorify the leader in a neo-classical, romantic styling mix.

From the Paper
"Louis-Louis David's images of Napoleon Bonaparte are some of the most compelling, dramatic pieces of portraiture in all of art history. His renderings of Napoleon Bonaparte, specifically, "Napoleon Crossing the Alps" (painted in 1801) and "The Coronation of Napoleon," (painted in 1806) brilliantly portrays Napoleon Bonaparte as the conqueror of the world, an idealized, bold larger than life, figurehead painting in both a romantic and neo-classical style. Louis-Louis David was born in 1748 and became, over his lifetime, one of the most influential French neo-classical painters. As a young man, he..."

Tags:napoleon, david, art

From the Paper
"Napoleon In His Study

Jacques Louis David is most famous for his sweeping historical pictures that make political statements. The Oath of the Horatti and the Death of Marat were not just paintings but public manifestos. They were proof that art could be used to influence men's conduct. As Citizen David, friend of the revolution, he sought to create pictures that not only told a tale but also inspired courage, patriotism, and action. His themes dealt with issues on a grand scale and related to self-sacrifice, devotion to duty and civic virtues. However, "David is not only associated with the French Revolution but also with the era of the EmpireA" (Van Loon, 1937, p. 543). At 51, he began a new and triumphant career chronicling the glory of Napoleon."

Abstract
Using a compare and contrast methodology, this paper explores the propagandist values and themes present in both "The Death of General Wolfe" by Benjamin West, and "Oath of the Horatii" by Jacques-Louis David, as well as examining the artistic and stylistic differences of each.

From the Paper
"Eighteenth century virtues such as honour, valour, and love of one's country were believed to produce great people and great deeds (Gardner's 846). Other virtues including courage, patriotism, and self-sacrifice were considered 'natural' and find their place in patriotic or propagandist works of art. The theme of the 'death in battle' of young military heroes has been expressed since antiquity, both in statuary and other forms of art. This same theme of the death of a military hero is portrayed in Benjamin West's The Death of General Wolfe."

Tags:benjamin, classical, david, death, general, horatii, jacques, louis, neo, oath, west, wolfe

Abstract
In this article, the writer notes that the famous painting 'The Death of Marat' by Jacques-Louis David is considered to be a masterpiece of neoclassical art. It is also probably one of the most iconic images of the French Revolution. The writer describes that in the center of the painting, the torso of a bleeding, dying man emerges. In his left hand, resting on a table, is a piece of paper with writing on it, while in his right hand, falling down to the ground, is a quill. The writer discusses that David's 'Death of Marat' is meant to dramatize the moment when Jean-Paul Marat, who published the radical newspaper 'The Friend of the People', was murdered. The event occurred dramatically when Marat was writing in his bathtub. The writer maintains that it is largely thanks to the 'Death of Marat' that David is now regarded as one of the great painters of the French Revolution. The writer concludes that the 'Death of Marat' can be found in the Royal Museum of Fine Arts in Brussels, although copies of the painting, created in the revolutionary fervor that followed its unveiling, are on display in museums throughout France.

From the Paper
"It is also not coincidental that David, of all people, would choose to depict Marat's death via painting. Like Marat, David had close ties to the Jacobins. A strong supporter of Robespierre, David became close friends with Marat during his lifetime. Marat and Robespierre both had the charisma and talent of overwhelming large masses of people through their speeches and actions. David would take on the responsibility of organizing Marat's funeral, as well as painting this beautiful, moving homage to the fallen hero. It is in many ways reminiscent of one of his earlier paintings, The Death of Lepelletier de Saint-Fargeau.
"David completed The Death of Marat in a very short time span. It would go on to become one of the most famous paintings of Neoclassicism, and is frequently evoked as David's best painting. Many critics have also evoked David as a precursor of Modernism, thanks to The Death of Marat."

Tags:masterpiece, bathtub, murder, death

Abstract
The paper examines the works of Jacques-Louis David, a Neoclassical genius of his time, and how he used his subject matter and formalism to propagate and inspire the masses. The paper then studies the works of Francisco de Goya, a Romantic artist who used powerful emotion and stark coloring to portray some of the brutalism of his time. The paper points out that Goya showed the bad side of war while David portrayed it to be heroic.

From the Paper
"Neo Classical, which means "new classical", was the predominant artistic style in Europe and North America between the 1750's to the 1830's. Neoclassicism was involved in looking back at Greece and Rome. This was the age of enlightenment, and critical thinkers, reason, math, and sciences were on a high spread. A lot of it was associated with the better archeological knowledge of antiquity though the rediscovery of sites including Herculaneum and Pompeii (Langmuir and Lynton 814). I believe they looked back to the classical cultures because, as the text put it, "Classical cultures represented the height of civilized society, and Greece and Rome served as models of enlightened political organizations." (Text pg.814) With this at hand many artists studied in these classical areas such as Jacques-Louis David."

Tags:Neoclassicism, Napoleon, Romanticism, emotion, war

Abstract
The ideal of public art fostered by Jacques-Louis David was embraced by painters in France and Spain in the period 1780 to 1830. This was a political art, based on the ideals of the Enlightenment, which engaged in criticism or praise of the state. But in this extremely volatile period shifts in politics, transformations of the state, and changes of leaders in the two countries meant that this highly political art did not always meet David's ideal. Depending on the state of politics the times could call for praise or blame of the leadership or would allow more or less explicit critiques by painters.

From the Paper
"The ideal of public art fostered by Jacques-Louis David was embraced by painters in France and Spain in the period 1780 to 1830. This was a political art, based on the ideals of the Enlightenment, which engaged in criticism or praise of the state. But in this extremely volatile period shifts in politics, transformations of the state, and changes of leaders in the two countries meant that this highly political art did not always meet David's ideal. Depending on the state of politics the times could call for praise or blame of the leadership or would allow more or less explicit critiques by painters. An examination of four examples of public art from this period shows how painters sought to promote Enlightenment ideals despite great differences in the political circumstances to which they responded. A comparison of David's Lictors Returning to Brutus the Bodies of ..."

Abstract
This paper describes the Neoclassical art movement, a severe, unemotional form of art that was traced back to the style of ancient Greece and Rome. It was a combination of aesthetic attitudes and principles based on the culture, art, and literature of ancient Greece and Rome and was characterized by emphasis on form, simplicity, proportion, and restrained emotion. The paper discusses and compares two artists from this period, Jacques-Louis David and Jean-Dominique Ingres. Several of their works are examined in the paper.

From the Paper
"In Europe, the nineteenth century was an age of radical change during which the modern world took shape. In a world that was experiencing a population explosion of unparalleled magnitude, revolution followed revolution, a pattern punctuated by counter-revolution and conservative reaction. In thought as well as in science, the nineteenth century was an era of grand new theories through which visionary thinkers attempted to unify whole bodies of knowledge into precise, well-ordered systems. Artist in the nineteenth century were also confronted with new innovations and their individual artistic styles and works changed with the times. These artists found themselves using the elements of line, shape and color to represent their private world, the realm of imagination and feeling. The functions of the artist and of the artist's medium were decisively transformed by the modern world. "

Tags:romanticism, history, painting, portraits

Abstract
This paper compares two pieces of art - a painting entitled "The Oath of Horatii" by Jacques-Louis David and Auguste Rodin's sculpture, "The Thinker." It describes the history and background of each artwork and the reasons for their commission. The paper looks briefly at how they were created and the final outcome for each piece. It also looks at where the pieces can be found today.

From the Paper
"The figures in the painting are lit from the left and standing out against the dark background. There are three separate scenes--the three Horatii, stand on the left in a military pose and face their father who is in the middle of the painting blessing them with his right hand and raising three swords with his left hand. In the third scene, the women hold each other. Each of these three areas shows a different emotion--the tense faces on the Horatii, the agony of the father and the grief of the women. Calvet (39) explains that David followed the composition of the fresco, with the central figures placed in the foreground to the right, the wall of a temple with figures standing and sitting among the columns in the middle ground, and in background a classical columned facade. Red is the color that is used throughout to contrast with the dark areas. The other colors are muted browns and cremes (Eitner 23). It emphasizes the blood and hot emotions on the one hand, but the sorrow on the other."

Tags:commission, impressionism, Nouveau

Abstract
This paper explains that painting in the 19th century, still highly influenced by the spirit of Romanticism, progressing through the "schools' of Realism, Impressionism and Post-Impressionism, proved an even more sensitive medium for personal expression. The author points out that the Impressionists sought to create the illusion of forms bathed in light and atmosphere, which required an extensive study of natural light as the source of all color, leading to the revelation that the actual color of an object is always modified by the quality of the light in which it is seen, by reflections from other objects and by the effects produced by colors lying against each other. The paper reviews in detail the work of Francisco Goya, Jacques Louis David, Eugene Delacroix, Jean-Auguste-Dominique Ingres, J.M.W. Turner, John Constable, Edouard Manet, Edgar Degas, Georges Seurat, Paul Cezanne, Paul Gauguin, Vincent Van Gogh and Auguste Rodin.

From the Paper
"The history of 19th century painting in its first sixty years has often been interpreted as a contest between Eugene Delacroix and Jean-Auguste-Dominique Ingres (1781-1867) who broke away from David on matters of artistic style, for he believed that David's art was too realistic and based far too much on Greek influences. For Ingres, painting encompassed flat and linear figures, a manner that was severely criticized as being "primitive" and Gothic. However, Ingres soon became the leader of the academic forces in their battle against Delacroix and his contemporaries."

Tags:color, romanticism, realism, impressionism, post-impressionism

Abstract
This paper examines portraiture and self-portraiture in the Western tradition. It describes historical and cultural aesthetics and the rhetorical content of portraiture. The author describes how a portrait captures a life. It mentions some noted portraiture artists including Jan van Eyck, Rembrandt, Frida Kahlo.

Tags:Portraits

Self-portraits

Rembrandt

Jacques Louis David

Richard Avedon

Painting, sculpture, photographs