[Born in Paris, 1748. Died at Brussels, 1825. Aged 77.]
The founder of the modern or classical school of French painters. Pupil
of Vien, with whom he passed several years in Italy. Returning to France
in 1780, opened a school, which attracted many pupils. In 1784, paid a
second visit to Italy, and on his return was hailed with the title of
Regenerator of Art. Was now admitted into the Academy and lodged in the
Louvre, with the appointment of “Painter to the King.” His pictures
proved eminently successful. His drawing was perfect, and the
correctness of his design revealed the pure antique fount from which he
had quaffed his inspiration. For a time David forsook the easel, to take
part in the fury of Revolutionary politics. He forgot his apartments in
the Louvre, joined hands with Robespierre, to whom he was personally
attached, and became one of the loudest clamourers for the blood of
Louis XVI. The painter was present at the mock trial of the monarch,
whom he grossly insulted as the wretched king passed in front of him.
After the fall of Robespierre, David owed the preservation of his own
neck solely to his great reputation as an artist. He ceased to be a
politician to become a dictator in art. During the Consulate his
influence was supreme. He not only immortalized some of its heroic
passages, but he designed its official costumes. Buonaparte heaped
favours upon his artistic panegyrist, and the painter added grace and
dignity to the deeds of the First Consul. The last work of David in
Paris was “Leonidas,” painted in 1814. In that year, it is written that
Wellington, accompanied by some English officers, visited the artist’s
studio, and expressed a wish to be painted. The story adds, that David
replied coldly that “he did not paint Englishmen,” and turned his back
upon his visitor. Upon the return of Napoleon from Elba, David was made
Commander of the Legion of Honour. The next year he was banished as a
regicide, and took up his residence in Brussels. “Napoleon crossing St.
Bernard” and “The Coronation of Napoleon” are amongst his offerings to
the triumphs of the Emperor. Classical and correct in design, David
fails in colour, and in picturesque expression. His figures, too, have a
hard and marble-like appearance. A large swelling at the side of his
face was caused by a blow he received, when young. It has been justly
said that opinions of David will vary, accordingly as they are expressed
by Frenchmen or by foreigners.
[From the marble in the Louvre, by Rude, 1831.]