Jacques-Louis David Artist Member of the Committee of General
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classical tradition from which Jacques Louis David as a late eighteenth as well as an early nineteenth century figure
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3 Appendix 2. 4 Warren Roberts Jacques-Louis David
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THE most significant drawing traceable to Jacques-Louis. David's early years a large and possibly trimmed work which belongs to the Crocker Art Gallery in
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narrative strategies for the principal memorial to Bara that is Jacques-. Louis David's painting The Death of Bara (Fig. 1). It is now generally.
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by Jacques-Louis David. Arlette Calvet. OF ALL THE WORKS of David the Louvre's Oath of the Horatii (Fig. I)1 is without doubt one of the best.
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Jacques-Louis David: The Farewell of Telemachus and Eucharis
Paul Getty Museum (87.PA.27). Frontispiece: Jacques-Louis David. Self-Portrait 1794. Oil on canvas
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In 1784 Jacques-Louis David painted the Oath of Horatii
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Jacques Louis David and the French revolution universityof Connecticut libraries j artstxfND553 D25V3 JacquesLouisDavidandtheFrench 3T1S3DDMS3b73£3 3 DigitizedbytheInternetArchive in2012withfundingfrom LYRASISMembersandSloanFoundation http://archive org/details/jacqdaviOOvale Mile Charlottedvald'Ocnes TlicMetropolitanMuseumofArtNewYork
Who Was Jacques-Louis David?
Jacques-Louis David was a painter of great renown as his style of history painting helped end the frivolity of the Rococo period, moving art back to the realm of classical austerity. One of David's most famous works, "The Death of Marat" (1793), portrays the famous French Revolutionary figure dead in his bath after an assassination.
Early Life
David was born on August 30, 1748, in Paris, France. His father was killed in a duel in when David was 9 years old, and the boy was subsequently left by his mother to be raised by two uncles. When David showed an interest in painting, his uncles sent him to François Boucher, a leading painter of the time and family friend. Boucher was a Rococo pain...
A Rising Figure in The Art World
That same year, David returned to Rome to complete "Oath of the Horatii," whose austere visual treatment — somber color, frieze-like composition and clear lighting — was a sharp departure from the prevailing Rococo style of the time. Exhibited in the official Paris Salon of 1785, the painting created a sensation and was regarded as a declaration of...
The French Revolution
In the early years of the Revolution, David was a member of the extremist Jacobin group led by Maximilien de Robespierre, and he became an active, politically committed artist involved in a good deal of revolutionary propaganda. He produced such works as "Joseph Bara", the sketched "Oath of the Tennis Court" and "Death of Lepeletier de Saint-Fargea...
Post-Revolution and Later Years
By 1794, Robespierre and his revolutionary allies had gone too far in silencing counter-revolutionary voices, and the people of France began to question his authority. In July of that year, it came to a head, and Robespierre was sent to the guillotine. David was arrested, remaining in prison until the amnesty of 1795. Upon release, David devoted hi...
Who is Jacques-Louis David?
They write new content and verify and edit content received from contributors. Jacques-Louis David, (born August 30, 1748, Paris, France—died December 29, 1825, Brussels, Belgium), the most celebrated French artist of his day and a principal exponent of the late 18th-century Neoclassical reaction against the Rococo style.
What style of art did Jacques Louis David use?
The art of Jacques Louis David embodies the style known as Neoclassicism, which flourished in France during the late eighteenth and early nineteenth centuries.
Where was Jacques-Louis David buried?
His heart, meanwhile, was buried at the Père Lachaise Cemetery in Paris. Best Known For: Jacques-Louis David was a 19th-century painter who is considered to be the principal proponent of the Neoclassical style.
What is David's style of painting?
David championed a style of rigorous contours, sculpted forms, and polished surfaces; history paintings, such as his Lictors Bringing Brutus the Bodies of His Sons (Musée du Louvre, Paris) of 1789, were intended as moral exemplars.
Jacques-Louis David
TH EFAREWEL
L OFTELEMACHU
S AND EUCHARIS
Jacques-Louis David
THE FAREWELL OF
TELEMACHU
S AND EUCHARIS
Doroth
y Johnson GETT YMUSEUM
STUDIE
S O N ART Lo s ANGELES For my parents, Alice and John Winter, and for JohnnyChristophe
rHudson, Publisher
Mar k Greenberg, Managing EditorBenedict
eGilman
Editor
Elizabet
hBurke Kahn, Production Coordinator
Jeffre
y CohenDesigner
Lo uMeluso, Photographer
(Gett y objects, 87.PA.27, 86.PA.740) 1997 Th e J Pau l Getty Museum 1798
5 Pacific Coast Highway
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a 90265-5799Mailin
g address P.O Bo x 2112 Sant a
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a90407-211
2Librar
y of CongressCataloging-in-Publicatio
n Dat aJohnson
, Dorothy.Jacques-Loui
s David , the Farewell ofTelemachu
s an dEuchari
s / Dorothy Johnson, p cm. - (Gett y Museu m studie s o n artInclude
s bibliographica l references (p. - ). ISB N0-89236-236-
7 i DavidJacque
s Louis1748 - 1825. Farewell
o f Telemachus and Eucharis. 2. David, Jacques Louis , 1748-1825 Criticism and interpretation. 3Telemachu
s (Gree k mythology) - Art. 4Eucharis (Greek mythology) - Art. I. Title.
IISeries.
ND553.D25A6
6 1997
759.4 - dc2
o 94 - 23806
CIPCover:
Jacques-Loui
s David (French, 1748 - 1825). Th e Farewell of Telemachus and Eucharis, 1818 (detail) . Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Lo s Angeles, The J. Paul Getty Museum (87.PA.27).Frontispiece:
Jacques-Loui
s DavidSelf-Portrait,
1794Oi l on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, Muse e d u Louvr e (3705) . © Photo R.M.N. Al l works of art are reproduced (and photographs provided courtes y of the owners, unless otherwise indicated
Typograph
y by G&S Typesetters, Inc.,Austin
TexasPrinte
d by C & C Offset Printing Co., Ltd., Hon g Kon gCONTENTS
Introduction i
Freedo
m in Exile 9 Th eDream of Adolescent Love 41
Th e Mythological and Cultural Contexts 53 Th e Futur e o fMyth 74
Note s 92Bibliograph
y 9 8 Fina l pag e folds out, providin g a referenc e colo r plate of TheFarewell
ofTelemachus
andEucharis
INTRODUCTION
I n 1818 Jacques-Louis David (1748-1825) painted one of the tenderest and most lyrica l compositions of his career, The Farewell of Telemachus and Eucharis [FIG- UR E i FOLDOUT], as a pendant to one of the strangest and most rebarbative works h e ha d eve r created - Amor and Psyche, 1817 [FIGURE 2]. While Amor and Psyche wa s decrie d by some observers as a revolting parody of adolescent love, one that reveal s the monstrous, loathsome, and predatory nature of the libidinous adoles- cen t male Telemachus and Eucharis was hailed for being its antithesis, for depicting th e innocence and purity of an adolescent couple who genuinely love one another an d wh o tenderl y embrac e fo r th e las t time. It is easy to see why the original view- er s of Telemachus and Eucharis praised it so highly. Using brilliant, deeply satu- rate d color s reminiscent of those seen in medieval manuscript illuminations, David depict s th e youthful , melancholy lovers at a moment of intimate farewell in the pri- vac y of a dark cave. The sorrowful expressions of their faces and their harmo- nious interlocking forms as they sit side by side reveal the depth and sincerity of thei r rapport B y representin g the heartfelt love and friendship of the adolescent mythica l couple Davi d wa s diverging radically not only from the literary sources tha t recount the narrative but also from visual precedents that emphasize a hope- les s erotic attraction brought about by a malicious Cupid.Euchari
s does not appear in Homer's description of Telemachus's quest fo r his father in The Odyssey. She does, however, figure prominently in Frangois deSaligna
c de La Mothe-Fenelon's tale of Les Aventures de Telemaque (1699), which wa s extremely popular in the eighteenth and nineteenth centuries and served as a principa l sourc e for pictorial versions of the theme during this period. In Fene- lon' s story when, during his search for Odysseus, the youthful and handsomeTelemachu
s is shipwrecked on the island of the enchantress Calypso, Cupid makes hi m fal l hopelessl y i n love with the nymph Eucharis. The jealous Calypso prevents th e tw o lovers from meeting alone, and Mentor, Telemachus's stalwart guide, craftil y arranges to remove his youthful charge from the island so that the searchFigure 1Jacques-Loui
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