Quiz: French Revolution - Storming of the Bastille - …
Trans-Atlantic Crisis: The French Revolution …
This painting like many others by Jacques-Louis David are called history paintings. Capturing recent history David idealizes the scene of Marat’s death. His skin seems smooth, even though we know he had a very bad skin condition. He looks like a Jesus figure, in terms of his posture and serene expression. In fact many revolutionaries, including the artist, saw Marat as a martyr.
"The Art of The French Revolution" ..
About this Painting and Jacques-Louis David
This painting depicts Napoleon crossing the Alps in ornate and rich clothing and one a magnificent horse. In reality Napoleon crossed the Alps on a donkey and wearing a simple gray coat. He is crossing the Alps in a victorious manner showing his success as the ruler of France. A propaganda masterpiece, this history painting puts Napoleon on the same level as some of the conquerors of antiquity, like Hannibal and Charlemagne, whose names appear in the foreground rocks.
French Revolution and Visual Language of Power | G:Class
The opposing American view, held by men like Jefferson and others who came to organize as the Democratic-Republican political party, supported French actions as an extension of a world-wide republican struggle against corrupt monarchy and aristocratic privilege. For example, some groups among the Whiskey Rebels in western Pennsylvania demonstrated their international vision when they rallied beneath a banner that copied the radical French slogan of "."
French Revolution and Visual Language of Power
Jacques-Louis David was an instrumental artist during the French Revolution and in Napoleon Bonaparte’s court. Painting in the style called Neo-Classicism, David used classical elements to express ideas of nationalism, courage, and greatness. As a school of painting, Neo-Classicism expressed a visual language of power and authority by claiming a direct lineage to Greco-Roman culture. Influenced by David and other portrait painters, Kehinde Wiley takes cues from this Western European tradition and inserts the people he wants to represent into these historical paintings, typically young black men he meets on the street. Wiley’s artistic practice critiques both the lineage of portrait painters he claims to be artistically descended from, as well as current society. This lesson provided a great connection between the French Revolution and art and social issues of today.