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Jacques-Louis David, (born August 30, 1748, Paris, France—died December 29, 1825, Brussels, Belgium), the most celebrated French artist of his day and a principal exponent of the late 18th-century Neoclassical reaction against the Rococo style. David won wide acclaim with his huge canvases on classical themes (e.g., Oath of the Horatii, 1784).

Jacques-Louis David was a 19th-century painter who is considered to be the principal proponent of the Neoclassical style. His most famous works include "The Death of Marat" and "Napoleon Crossing...

Self-Portrait - Jacques-Louis David Jacques-Louis David . Born: August 30, 1748; Paris, France ; Died: December 29, 1825; Brussels, Belgium ; Nationality: French; Art Movement: Neoclassicism; Field: painting, drawing; Influenced by: Nicolas Poussin, Caravaggio, Annibale Carracci, Anton Raphael Mengs

Jacques-Louis David was born in Paris in 1748, the son of an iron merchant who was killed in a duel (an unusual circumstance in his social class), when the boy was nine years old. His mother, Geneviève Buron, came of a family of builders and architects and was distantly related to the painter François Boucher (1703-1770).

Summary of Jacques-Louis David. The quintessential Neoclassical painter, David's monumental canvases were perhaps the final triumph of traditional history painting. Adopting the fashionable Greco-Roman style, David blended these antique subjects with Enlightenment philosophy to create moral exemplars.

F rench painter Jacques-Louis David created Neoclassical artworks that were possibly the last fine examples of historic painting in the traditional sense. Jacques-Louis David’s paintings were produced in the classical Greco-Roman style, yet with the moral philosophies of the Enlightenment era blended in.

It all sounds like children’s story hour in the shadow of Jacques-Louis David, the artist-moralist who depicted the French Revolution with lethal purity. In the 1780s, he eradicated the ...

Jacques-Louis David: The Emperor Napoleon in His Study at the Tuileries Napoleon admired The Intervention of the Sabine Women and saw possibilities for self-aggrandizement in the talent displayed. Soon David, without acquiring political office, was again a government painter, first under the Consulate and then, after 1804, under the Empire.