He lacked the force to carry out a complete reform
in painting, but his pupil David (1748-1825) accomplished what he had
begun. It was David who established the reign of classicism, and by
native power became the leader. The time was appropriate, the
Revolution called for pictures of Romulus, Brutus and Achilles, and
Napoleon encouraged the military theme. David had studied the marbles
at Rome, and he used them largely for models, reproducing scenes from
Greek and Roman life in an elevated and sculpturesque style, with much
archaeological knowledge and a great deal of skill. In color, relief,
sentiment, individuality, his painting was lacking. He despised all
that. The rhythm of line, the sweep of composed groups, the heroic
subject and the heroic treatment, made up his art. It was thoroughly
objective, and what contemporary interest it possessed lay largely in
the martial spirit then prevalent. Of course it was upheld by the
Institute, and it really set the pace for French painting for nearly
half a century.
Pages:
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231