French b.Aug. 30, 1748, Paris d.Dec. 29, 1825, Brussels Jacques-Louis David is famous for his huge, dramatic canvasses of Napoleon and other historical figures, including Oath of the Horatii (1784), Death of Marat (1793) and The Sabine Women (1799). Early in his career he was a leader in the neoclassical movement; later his subjects became more modern and political. David was himself active in the French Revolution as a supporter of Robespierre and is sometimes called the chief propagandist for the Revolution; after the Reign of Terror ended he was briefly imprisoned for his actions. When Napoleon took power David became his court painter and created several grand canvasses of the Emperor, including the heroic Napoleon Bonaparte Crossing the Alps (1801) and the enormous Coronation of Napoleon and Josephine (1807). David also painted Napoleon in His Study (1812), with its famous image of Napoleon with one hand tucked inside his vest. After Napoleon ouster David went in exile to Brussels, where he remained until his 1825 death  Related Paintings of Jacques-Louis David :. | Portrait of Jacobus Blauw | Madame Raymond de Verninac | Emilie Seriziat nee Pecoul and Her Son Emil Born in 1793 (mk05) | Portrait of the Marquise d'Orvilliers | The Sabine Woman |
Related Artists:
Shinn Everett
American Ashcan School Painter, 1876-1953 American painter, illustrator, designer, playwright and film director. He studied industrial design at the Spring Garden School in Philadelphia from 1888 to 1890. In 1893 he became an illustrator at the Philadelphia Press. Simultaneously he attended the Pennsylvania Academy of Fine Arts, Philadelphia, where he met Robert Henri, John Sloan, William J. Glackens and George Luks. Their style of urban realism prompted him to depict the bleak aspects of city life. In 1897 Shinn moved to New York and produced illustrations for several newspapers and magazines
louvre
R.F.1948-36 M.N
Daret, Jean
Flemish Baroque Era Painter, 1613-1668 French painter. He came from Brussels and trained there before going on the traditional journey to Italy, which not only took him to Rome but also brought him into contact with contemporary masters at Bologna. While in Italy he produced a Self-portrait (1636; St Petersburg, Hermitage), which alludes to both his ideal model and the necessary basis of his work: his right hand rests on a fragment of antique sculpture, while beside his palette in the foreground lie several sheets of drawings.