Synopses & Reviews
Now available in paperback.This beautifully illustrated book, originally published in 2005 in conjunction with a major traveling exhibition, is the first to examine the transformation of Jacques-Louis Davidand#8217;s work during the post-Revolutionary period (1800and#150;1825). Each of the worksand#150;and#150;many of which were previously unknown or inaccessibleand#150;and#150;is reproduced in color and accompanied by detailed scholarly information. Drawing on many new documents and close analysis of the works featured in the book, Philippe Bordes offers a revisionist view of this deeply reactive artist and the creative output of his and#147;secondand#8221; career.
and#147;A beautiful book and a significant contribution to our understanding of Davidand#8217;s place in art history.and#8221;and#151;Art Times
"Bordes gives his readers the benefit of years spent looking at these paintings and drawings, as well as his encyclopedic knowledge . . . of the artistic, social and political histories of the period.and#8221;and#151;Louise Govier, The Art Book
and#147;[A] marvelously produced catalogue . . . meticulous and informative.and#8221;and#151;David A. Bell, New Republic
Synopsis
This beautifully illustrated book, focusing on a selection of later paintings and drawings by Jacques-Louis David (1748-1825), is published to accompany the first major exhibition of the artist's work in the United States. Organized by the Sterling and Francine Clark Art Institute and the J. Paul Getty Museum, this exhibition of 27 paintings and 29 drawings is also the first to examine the transformation of David's art during the post-Revolutionary period (1800-1825). Each of the works, many of which were previously unknown or inaccessible, is reproduced in color and accompanied by an entry with complete scholarly information.
Art historian Philippe Bordes establishes David's position after the Terror and discusses the artist's admiration for Napoleon Bonaparte, for whom he served as court painter. The book also investigates David's new approach to antiquity in historical compositions and the avowed influence of the Flemish School on his practice. Drawing on many new documents and close analysis of the works featured in the book, Bordes offers a revised understanding of this deeply reactive artist and the creative output of his second career.
About the Author
Philippe Bordes was founding director of the Musand#233;e de la Rand#233;volution Franand#231;aise in Vizille, France, from 1984 to 1996 and is currently professor of art history at the University of Lyon.