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See also |
Legacy and memory of Napoleon |
Neoclassicism in France |
References |
Sources |
Boime, Albert (1987), Social History of Modern Art: Art in the Age of Revolution, 1750–1800 volume 1, Chicago, Illinois: The University of Chicago Press, ISBN 0-226-06332-1 |
Bordes, Philippe (1988), David, Paris, FRA: Hazan, ISBN 2-85025-173-9 |
Bordes, Philippe (2005), Jacques-Louis David: From Empire to Exile, New Haven, Connecticut: Yale University Press, ISBN 978-0300104479, retrieved 23 February 2020 |
Brookner, Anita, Jacques-Louis David, Chatto & Windus (1980) |
Carlyle, Thomas (1860) [1837]. The French Revolution: A History. Vol. II. New York: Harper & Bros. OCLC 14208955. |
Chodorow, Stanley, et al. The Mainstream of Civilization. New York: The Harcourt Press (1994) pg. 594 |
Crow, Thomas E. (1995), Emulation: Making Artists for Revolutionary France (1st ed.), New Haven, Connecticut: Yale University Press, ISBN 0-300-06093-9 |
Crow, Thomas E. (2007), "Patriotism and Virtue: David to the Young Ingres", in Eisenman, Stephen F. (ed.), Nineteenth Century Art: A Critical History (3rd ed.), New York City, New York: Thames & Hudson, pp. 18–54, ISBN 978-0-500-28683-8 |
Delécluze, E., Louis David, son école et son temps, Paris, (1855) re-edition Macula (1983) |
Dowd, David, Pageant-Master of the Republic, Lincoln, University of Nebraska Press, (1948) |
Honour, Hugh (1977), Neo-Classicism, New York City, New York: Penguin Books, ISBN 0-14-013760-2 |
Humbert, Agnès, Louis David, peintre et conventionnel: essai de critique marxiste, Paris, Editions sociales internationales (1936) |
Humbert, Agnès, Louis David, collection des Maîtres, 60 illustrations, Paris, Braun (1940) |
Hunt, Lynn (2004), Politics, Culture, and Class in the French Revolution, Los Angeles, California: University of California Press, ISBN 0-520-24156-8 |
Janson, Horst Waldemar; Rosenblum, Robert (1984), 19th-Century Art, New York City, New York: Harry Abrams, ISBN 0-13-622621-3 |
Johnson, Dorothy, Jacques-Louis David. New Perspectives, Newark (2006) |
Lajer-Burcharth, Ewa, Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London (1999) |
Lee, Simon, David, Phaidon, London (1999). ISBN 0714838047 |
Lévêque, Jean-Jacques, Jacques-Louis David édition Acr Paris (1989) |
Leymarie, Jean, French Painting, the 19th century, Cleveland (1962) |
Lindsay, Jack, Death of the Hero, London, Studio Books (1960) |
Malvone, Laura, L'Évènement politique en peinture. A propos du Marat de David in Mélanges de l'École française de Rome, Italie et Méditerranée 106, 1 (1994) |
Michel, R. (ed), David contre David, actes du colloque au Louvre du 6-10 décembre 1989, Paris (1993) |
Monneret, Sophie Monneret, David et le néoclassicisme, ed. Terrail, Paris (1998) |
Noël, Bernard, David, éd. Flammarion, Paris (1989) |
Rosenblum, Robert (1969), Transformations in Late Eighteenth Century Art (1st paperback ed.), Princeton, New Jersey: Princeton University Press, ISBN 0-691-00302-5 |
Roberts, Warren (1 February 1992), Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution, The University of North Carolina Press, ISBN 0-8078-4350-4 |
Rosenberg, Pierre, Prat, Louis-Antoine, Jacques-Louis David 1748-1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan (2002) |
Rosenberg, Pierre, Peronnet, Benjamin, Un album inédit de David in Revue de l'art, n°142 (2003–04), pp. 45–83 (complete the previous reference) |
Sahut, Marie-Catherine & Michel, Régis, David, l'art et le politique, coll. "Découvertes Gallimard" (nº 46), série Peinture. Éditions Gallimard et RMN Paris (1988) |
Sainte-Fare Garnot, N., Jacques-Louis David 1748-1825, Paris, Ed. Chaudun (2005) |
Schama, Simon (1989). Citizens: A Chronicle of the French Revolution. Penguin Books. |
Schnapper, Antoine, David témoin de son temps, Office du Livre, Fribourg, (1980) |
Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris (1989) |
Vanden Berghe, Marc, Plesca, Ioana, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles (2004) / New Perspectives on David's Death of Marat, Brussels (2004) - online on www.art-chitecture.net/publications.php [1] |
Vanden Berghe, Marc, Plesca, Ioana, Lepelletier de Saint-Fargeau sur son lit de mort par Jacques-Louis David: saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels (2005) - online on www.art-chitecture.net/publications.php [2] |
Vaughan, William and Weston, Helen (eds),Jacques-Louis David's Marat, Cambridge (2000) |
The Death of Socrates. Retrieved 29 June 2005. New York Med. |
Jacques-Louis David, on An Abridged History of Europe. Retrieved 29 June 2005 |
J.L. David Archived 6 August 2002 at the Wayback Machine on CGFA. Retrieved 29 June 2005 |
Further reading |
French painting 1774-1830: the Age of Revolution. New York; Detroit: The Metropolitan Museum of Art; The Detroit Institute of Arts. 1975. (see index) |
External links |
A Closer Look at David's Consecration of Napoleon multimedia feature; Louvre museum official website |
The Intervention of the Sabines (Louvre museum) |
Web Gallery of Art |
www.jacqueslouisdavid.org Archived 16 June 2018 at the Wayback Machine 101 paintings by Jacques-Louis David |
Jacques-Louis David at Olga's Gallery |
Jacques-Louis David in the "History of Art" Archived 5 February 2007 at the Wayback Machine |
smARThistory: Death of Socrates Archived 2 June 2007 at the Wayback Machine |
Sterling and Francine Clark Art Institute 2005 exhibition, Jacques-Louis David: Empire to Exile Archived 16 June 2018 at the Wayback Machine |
The equestrian portrait of Stanislaw Kostka Potocki at the Wilanow Palace Museum |
Jan Dirksz Both (between 1610 and 1618 - August 9, 1652) was a Dutch painter, draughtsman, and etcher, who made an important contribution to the development of Dutch Italianate landscape painting. |
Biography |
Both was born in Utrecht, and was the brother of Andries Both. According to Houbraken, the brothers first learned to paint from their father, who was a glass-painter or glazier there. Later Jan was a pupil of Abraham Bloemaert and still later the brothers traveled together to Rome via France. Gerrit van Honthorst has also been suggested as a teacher. |
By 1638 Jan and his brother Andries were in Rome where Andries concentrated on genre works in the manner of Pieter van Laer, while Jan concentrated on landscapes in the manner of Claude Lorrain. In 1639 Jan collaborated with Herman van Swanevelt and Claude Lorrain on a project for the Buen Retiro Palace in Madrid. Certainly by 1646 Jan had returned to Utrecht, where he refined further his expansive, imaginary landscapes drenched with a Mediterranean golden light. In Landscape with Bandits Leading Prisoners (Museum of Fine Arts, Boston) the sandy road makes a sweeping diagonal from the left. Touches of realism in the down-to-earth figures and detailed vegetation of the foreground contrast with the idyllic golden distance. Occasionally Both peoples his landscapes with religious or mythological figures as in Judgement of Paris (London, National Gallery) where the figures were painted by a fellow Utrecht artist, Cornelis van Poelenburch. Jan's brother Andries (c.1612–41), who specialised in peasant scenes, died in Venice as they were returning to Utrecht. Both brothers are registered as Bentvueghels, but their nicknames are not known. Jan's pupils were Barend Bispinck, Willem de Heusch, and Hendrick Verschuring. Jan Both died in his native city of Utrecht. |
Public collections |
Both is represented in the following collections: Fitzwilliam Museum at the University of Cambridge, UK; Hermitage, St. Petersburg, Russia; Kunsthistorisches Museum, Vienna; Louvre, Paris; Mauritshuis Royal Picture Gallery, The Hague; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; National Gallery of Canada, Ottawa; National Gallery, London; Rijksmuseum, Amsterdam; Royal Collection, London; Art Gallery of Greater Victoria, British Columbia; Art Gallery of the University of Rochester, New York; Ashmolean Museum, University of Oxford; Christchurch Art Gallery Te Puna o Waiwhetu, New Zealand; Courtauld Institute of Art, London; Dulwich Picture Gallery, London; National Museum of Western Art, Tokyo; Norwich Museums, UK; Prado Museum, Madrid; Spencer Museum of Art at the University of Kansas; The Wallace Collection, London; Vejle Kunstmuseum, Denmark; and Nasjonalmuseet, Norway amongst others. |
Gallery |
References |
External links |
43 artworks by or after Jan Dirksz Both at the Art UK site |
Both at WGA |
Dutch and Flemish paintings from the Hermitage, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Both (cat. no. 5) |
Jan Fijt, Jan Fijt or Johannes Fijt (or Fyt) (19 August 1609 – 11 September 1661) was a Flemish Baroque painter, draughtsman and etcher. One of the leading still life and animaliers of the 17th century, he was known for his refined flower and fruit still lives, depictions of animals, garland painting and lush hunting pieces, and combinations of these subgenres, such as game, flowers and fish under a festoon of flowers. He was probably the master of the prominent Pieter Boel, who worked in a style very similar to that of Fyt. |
Life |
Jan Fyt was born in Antwerp as the son of a wealthy merchant originally from Sint-Niklaas. In 1621 Fyt was registered at the Antwerp Guild of St Luke as an apprentice of Hans van den Berghe (also referred to as 'Jan van den Bergh'), a Dutch painter and draughtsman who had trained with Goltzius in Haarlem and later with Rubens in Antwerp. Fyt then likely completed his training with the leading Antwerp animal painter Frans Snyders from 1629 to 1631. He became a master of the Antwerp Guild of St Luke in the guild year 1630–31. |
After setting out on a trip to Southern Europe in 1633, Fyt stopped for a while in Paris. He traveled on to Italy the following year. He worked in Venice for the prominent Sagredo and Contarini families. He resided in Rome in 1635. Here he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. Fyt was reportedly given the bent name 'Goudvink' ('bullfinch'). |
During his stay in Italy, he most likely also visited Naples, Florence and Genoa. The Italian art historian Pellegrino Antonio Orlandi stated in his Abecedario pittorico of 1704 that Fyt also spent time in Spain and London. |
By 1641 Fyt is recorded back in Antwerp where he remained active for the remainder of his life aside from a brief trip to the Dutch Republic which he is believed to have made that same year. Fyt ran a successful studio in Antwerp which produced many copies of his creations. He became a wealthy man and maintained a network of contacts with patrons and art dealers both at home and abroad. He was frequently mentioned in judicial documents in Antwerp in relation to disputes and court cases with other painters and members of his own family over money. |
Fyt joined the Guild of Romanists in 1650. The Guild of Romanists was a society of notables and artists which was active in Antwerp from the 16th to 18th century. It was a condition of membership that the member had visited Rome. In the year 1652 the Guild chose Fyt as its dean. |
Fyt married Françoise van de Sande on 22 March 1654 and the couple had four children. He died in Antwerp on 11 September 1661. |
Fyt's pupils included Pieter Boel and Jaques van de Kerckhove, who both had successful careers abroad. Pieter Boel's style remained very close to Fyt's. |
Work |
General |
Fyt was a versatile still-life specialist. Although better known for his hunting, game and animal pieces he also painted beautiful still life compositions with flowers and fruit. He was very prolific and is believed to have produced around 380 paintings, many of them signed and dated. His works were sought after by important art collectors of his day and are now in the collections of many leading international museums. Most of his work is signed as 'Joannes FYT' and dated. His dated work was made in the years 1638 to 1661. |
Animal still lifes |
Fyt's animal still lifes are generally more refined than those of Frans Snyders as he catered primarily to the tastes of an aristocratic clientele. His palette was likely influenced by his exposure to Italian art and was more striking than that of Snyders. His works show gradually more dynamic movement and asymmetry. Fyt's frenetic nervous brushstrokes, and his freer and more Baroque compositional style differed also from those of Snyders. Fyt was particularly skilled in the delicate rendering of the various textures of the fur and plumage of the animals he depicted. |
Hunting pieces |
Fyt innovated the genre of the hunting piece by moving the scene in which the dead game was displayed from an indoor table top to an open landscape. |
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