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DAVID ,JACQUES See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
LOUIS (1748-1825), See also:French painter, was See also:born in See also:Paris on the 30th of See also:April 1748. His See also:father was killed in a See also:duel, when the boy was but nine years old. His See also:education was begun at the See also:College See also:des Quatre Nations, where he obtained a smattering of the See also:classics; but, his See also:artistic See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent being already obvious, he was soon placed by his See also:guardian in the studio of See also:Francois See also:Boucher. Boucher speedily realized that his own erotic See also:style did not suit the lad's See also:genius, and recommended him to J. M. See also:Vien, the See also:pioneer of the classical reaction in See also:painting. Under him David studied for some years, and, after several attempts to win the prix de See also:Rome, at last succeeded in 1775, with his " Loves of See also:Antiochus and Stratonice." Vien, who had just been appointed director of the French See also:Academy at Rome, carried the youth with him to that See also:city. The classical reaction was now in full See also:tide; See also:Winckelmann was See also:writing, See also:Raphael See also:Mengs painting; and the treasures of the Vatican galleries helped to confirm David in a See also:taste already moulded by so many kindred influences. This severely classical spirit inspired his first important painting, " Date obolum Belisario,"- exhibited at Paris in 1780. The picture exactly suited the See also:temper of the times, and was an immense success. It was followed by others, painted on the same principles, but with greater perfection of See also:art: " The Grief of See also:Andromache " (1783), " The See also:Oath of the See also:Horatii " (Salbn, 1785), " The See also:Death of See also:Socrates," " Love of Paris and See also:Helen " (1788), " See also:Brutus " (1789). In the French See also:drama an unimaginative See also:imitation of See also:ancient See also:models had See also:long prevailed; even in art Poussin and Le Sueur were successful by expressing a See also:bias in the same direction; and in the first years of the revolutionary See also:movement the See also:fashion of imitating the ancients even in See also:dress and-See also:manners went to the most extravagant length. At this very See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time David returned to Paris; he was now painter to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king, Louis XVI., who had been the purchaser of his See also:principal See also:works, and his popularity was soon immense. At the outbreak of the Revolution in 1789, David was carried away by the See also:flood of See also:enthusiasm that made all the See also:intellect of See also:France believe in a new era of equality and emancipation from all the ills of See also:life.
The success of his See also:sketch for the picture of the " Oath of the See also:Tennis See also:Court," and his pronounced republicanism, secured David's See also:election to the See also:Convention in See also:September 1792, by the See also:Section du Museum, and he quickly distinguished himself by the See also:defence of two French artists in Rome who had fallen into the merciless hands of the See also:Inquisition. As, in this See also:matter, the behaviour of the authorities of the French Academy in Rome had been dictated by the tradition of subservience to authority, he used his See also:influence to get it suppressed. In the See also:January following his election into the Convention his See also:vote was given for the king's death. Thus the See also:man who was so greatly indebted to the See also:Roman academy and to Louis XVI. assisted in the destruction of both, no doubt in obedience to a principle, like the See also:act of Brutus in condemning his sons—a subject he painted with all his See also:powers. See also:Cato and stoicism were the See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order of the See also:day. Hitherto the actor had walked the See also:stage in See also:modern dress. Brutus had been applauded in red-heeled shoes and culottes jarretees; but See also:Talma, advised by David, appeared in toga and sandals before an enthusiastic See also:audience. At this See also:period of his life Mademoiselle de See also:Noailles persuaded him to paint a sacred subject, with See also:Christ as the See also:hero. When the picture was done, the Saviour was found to be another Cato. " I told you so," he replied to the expostulations of the See also:lady, " there is no See also:inspiration in See also:Christianity now!" David's revolutionary ideas, which led to his election to the See also:presidency of the Convention and to the See also:committee of See also:general See also:security, inspired his pictures " Last Moments of Lepelletier de See also:Saint-Fargeau " and " See also:Marat Assassinated." He also arranged the See also:programme of the principal republican festivals. When See also:Napoleon See also:rose to See also:power David became his enthusiastic admirer. His picture of Napoleon on horseback pointing the way to See also:Italy is now in See also:Berlin. During this period he also painted the" See also:Rape of the Sabines" and "See also:Leonidas at See also:Thermopylae." Appointed painter to the See also:emperor, David produced the two notable pictures "The See also:Coronation " (of See also:Josephine) and the " See also:Distribution of the Eagles."
On the return of the Bourbons the painter was exiled with the other remaining regicides, and retired to See also:Brussels, where he again
returned to classical subjects: " Amor quitting See also:Psyche," " See also:Mars disarmed by See also:Venus," &c. He rejected the offer, made through See also:Baron See also:Humboldt, of the See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office of See also:minister of See also:fine arts at Berlin, and remained at Brussels till his death on the 29th of See also:December 182 5. His end was true to his whole career and to his See also:nationality. While dying, a See also:print of the Leonidas, one of his favourite subjects, was submitted to him. After vaguely looking at it a long time, " Il n'y a que moi qui pouvais concevoir la tete de Leonidas," he whispered, and died. His See also:friends and his party thought to carry the See also:body back to his beloved Paris for See also:burial, but the See also:government of the day arrested the procession at the frontier, an act which caused some See also:scandal, and furnished the occasion of a terrible See also:song of See also:Beranger's.
It is difficult for a See also:generation which has witnessed another See also:complete revolution in the See also:standards of artistic taste to realize the See also:secret of David's immense popularity in his own day. His style is severely See also:academic, his See also:colour lacking in richness and warmth, his See also:execution hard and uninteresting in its very perfection. Subjects and treatment alike are inspired by the passing fashion of an See also:age which had deceived itself into believing that it was living and moving in the spirit of classical antiquity. The inevitable reaction of the romantic movement made the masterpieces, which had filled the men of the Revolution with enthusiasm, seem See also:cold and lifeless to those who had been taught to expect in art that See also:atmosphere of See also:mystery which in nature is everywhere See also:present. Yet David was a See also:great artist, and exercised in his day and generation a great influence. His pictures are magnificent in their See also:composition and their draughtsmanship; and his keen observation and insight into See also:character are evident, especially in his portraits, notably of Madame See also:Recamier, of the Conventional See also:Gerard and of See also:Boissy d'Anglas.
See E. J. Delecluze, Louis David, son ecole et son temps (Paris, 1855), and Le Peintre Louis David. Souvenirs et documents inedits, by J. L. Jules David, the painter's See also:grandson (Paris, 1880).
End of Article: DAVID
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