Jacques-Louis David France Painter masterpeices reproductions oil painting

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Ref No.David 1
Count Potocki
1780-81Oil on canvas
Museum Nardowc,
Warsaw

Ref No.David 2
Oath of the Horatii
1784 Oil on canvas
Louvre Museum, Paris

Ref No.David 3
Paris and Helen
1788; Oil on canvas
Louvre Museum, Paris

Ref No.David 4
The Sabine Women
1799; Oil on canvas
Louvre Museum, Paris

Ref No.David 5
Napoleon Crossing
the Saint Bernard
1800Oil on canvas
Musee National du
Chateau de Malmaison
Rueil-Malmaison, France

Ref No.David 6
Napoleon in His Study
1812; Oil on canvas
National Gallery of Art
Washington, DC

Ref No.David 7
Leonidas at Thermopylae
1814; Oil on canvas
Louvre Museum, Paris

Ref No.David 8
Cupid and Psyche
1817; Oil on canvas
Cleveland Museum of Art

Ref No.David 9
Mars Disarmed by Venus
and the Three Graces
1824; Musees Royaux
des Beaux-Arts,Brussels

Ref No.David 10
Portrait of Emilie
Seriziat and Her Son
1795. Oil on canvas
131 x 96 cm.
Louvre, Paris, France

Ref No.David 11
Bonaparte Crossing
St. Bernard Pass.
1800. Oil on canvas
. 260 x 221 cm.
Musee National de
Malmaison, France

Ref No.David 12
Sappho and Phaon.
1809. Oil on canvas
225 x 262 cm.
The Hermitage,
St. Petersburg, Russia

Jacques-Louis David, France Neoclassicism painter, b.1748 - d.1835.Jacques-Louis David was born into a prosperous middle-class family in Paris on August 30, 1748. In 1757 his mother left him to be raised by his uncles after his father was killed. When David was 16 he began studying art at the Acad¨¦mie Royale under the rococo painter J. M. Vien. After many unsuccessful attempts, he finally won the Prix de Rome in 1774, and on the ensuing trip to Italy he was strongly influenced by classical art and by the classically inspired work of the 17th-century painter Nicolas Poussin. David quickly evolved his own individual neoclassical style, drawing subject matter from ancient sources and basing form and gesture on Roman sculpture. His famous "Oath of the Horatii" was consciously intended as a proclamation of the new neoclassical style in which dramatic lighting, ideal forms, and gestural clarity are emphasized. Presenting a lofty moralistic (and by implication patriotic) theme, the work became the principal model for noble and heroic historical painting of the next two decades. It also launched his popularity and awarded him the right to take on his own students. After 1789, David adopted a realistic rather than neoclassical painting style in order to record scenes of the French Revolution (1789-1799). David was very active in the Revolution, being elected a deputy to the National Convention on September 17, 1792. He took his place with the extremists known as the Montagnards- along with Marat, Danton, and Robespierre. To place order, please contact sales@oilpaintingshop.com