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Impacted by changes to the surrounding environment and its affect on the citizens of Paris, the Louvre stands at the center of the city as a transformative architectural monument that has influenced artwork interpretation since its erection. The Louvre and the art displayed within it play a crucial role in the development of national identity during the early modern period. The Louvre and its art collection displays and reflects the political landscape of France at different points of ownership during the latter half of the eighteenth into the beginning of the nineteenth century. With King Louis XVI’s lack of leadership, I argue that the Louvre and its art demonstrate the tense separation between the monarch and his subjects at the start of the French Revolution. Once the Louvre is claimed as a national museum for the people of France, I examine how the New Republic’s agenda is displayed through its architectural restorations and art exhibitions. Finally, I showcase the imperialistic power of Napoléon Bonaparte’s effect on the Louvre and displayed art. Whether king, revolutionaries, or emperor, the adaptability of the Louvre within the urban landscape of Paris mirrors its occupants and recontextualizes displayed artworks.

Jacques-Louis David je bio najistaknutiji predstavnik francuskog klasicizma u drugoj polovici 18. stoljeća. Davidovo stvaralaštvo je obilježio boravak u Rimu gdje je razvio svoj umjetnički izraz pod utjecajem slikara 16. i 17. stoljeća. Dolaskom u Francusku stvara potpuno novo slikarstvo koje karakterizira pripovjedna jasnoća postignuta jasnom kompozicijom i naglašenim teatralnim postavom i gestama likova. Davidovo stvaralaštvo do dolaska Napoleona možemo podijeliti na predrevolucionarnu fazu u kojem stvara djela iz grčke i rimske povijesti, te revolucionarnu fazu u kojoj stvara djela koja su programatski vezana uz Francusku revoluciju. Jacques-Louis David was the most prominent representative of French neoclassicism in the second half of the 18th century. David's opus was marked by his stay in Rome, where he developed his artistic expression under the influence of painters of the 16th and 17th century. Upon his arrival in France, he started creating a completely new painting characterized by narrative clarity achieved by a clear composition and emphasized theatrical setting and gestures of the characters. David's work until the arrival of Napoleon can be divided into a pre-revolutionary phase in which he creates works from Greek and Roman history, and a revolutionary phase in which he creates works that are programmatically linked to the French Revolution.

What are the main features of modern political loyalty ? How could French revolutionaries build a new model of loyalty to state institutions in line with their actions while engaging the people by inspiring enthusiasm ? Analysing how the iconography of oath taking changed in the first years of the French revolution, this article tries to reconstruct the entanglement between ideology, individual experiences and mental representations that marked the new model of political engagement modern citizens are required. Special attention will be given to the history of the Tennis Court Oath and its representations. The different iconographic solutions proposed to the public involve strategies to mobilize public opinion and even crowds.

What are the main features of modern political loyalty ? How could French revolutionaries build a new model of loyalty to state institutions in line with their actions while engaging the people by inspiring enthusiasm ? Analysing how the iconography of oath taking changed in the first years of the French revolution, this article tries to reconstruct the entanglement between ideology, individual experiences and mental representations that marked the new model of political engagement modern citizens are required. Special attention will be given to the history of the Tennis Court Oath and its representations. The different iconographic solutions proposed to the public involve strategies to mobilize public opinion and even crowds.

Jacques-Louis David se involucró activamente con todos los poderes de la Francia de finales del siglo XVIII: pintó para el rey Luis XVI, para los jacobinos y para el emperador Napoleón. Sus contradicciones ideológicas tienen su razón de ser en la ambición profesional del artista, máximo representante del neoclasicismo, cuyo objetivo de acabar con la Academia lo llevó a las más altas esferas de la política revolucionaria. Del estudio de su obra Los lictores devuelven a Bruto los cadáveres de sus hijos se desprende tanto el viraje ideológico de David como el incipiente rol del artista independiente del cambio de siglo. Jacques-Louis David was actively involved with all the po-wers of late 18th century in France: he painted for King Louis XVI, for the Jacobins and for the Emperor Napoleon. His ideological contradic-tions have their raison d’être in the professional ambition of the artist, who was the highest figure of Neoclassicism, whose objective of ending with the Academy led him to the highest spheres of revolutionary poli-tics. The study of his work Lictors Returning to Brutus the Bodies of his Sons reveals both David’s ideological turn and the incipient role of the independent artist belonged to the turn of the century.

Entre 1793 y 1794, durante el llamado «Gran Terror», los retratos de los «mártires revolucionarios» de Jacques-Louis David han desarticulado las bases de la pintura de historia al eliminar la narración y el espacio de la perspectiva tal y como habían sido concebidos desde el Renacimiento. Este artículo indaga en este proceso a través del entramado político, social y religioso que se puso en marcha durante la República jacobina. Entre 1793 i 1794, durant l'anomenat «Gran Terror», els retrats dels «màrtirs revolucionaris» de Jacques-Louis David van desarticular les bases de la pintura d'història en eliminar la narració i l'espai de la perspectiva tal com havien estat concebuts des del Renaixement. Aquest article indaga en aquest procés a través de l'entramat polític, social i religiós que es va engegar durant la República jacobina. During the so-called "Reign of Terror" from 1793 to 1794, the portraits of "revolutionary martyrs" by Jacques-Louis David dismantled the foundations of history painting, thus erasing the principles of pictorial narrative and perspective existing since the Renaissance. The purpose of this paper is to explore this process through the political, social and religious framework constructed during the Jacobin Republic.

Ainda seguindo os paradigmas da forma da pintura histórica,David se utilizou dos feitos da Antiguidade Clássica não só comoorientação moral, mas como posicionamento político e orientaçãoprática na então emergente revolução iniciada na França. Os litorestrazendo a Brutus os corpos de seus filhos (1789) é um exemplo decaráter republicano por excelência e, por isso, também de açãorevolucionária no contexto da monarquia. Após a Revolução, Davidpintou Marat assassinado (1793), obra em que, valendo-se da formada pintura histórica, retratou um personagem e um tema da históriacontemporânea. Finalmente a França, agora republicana, era digna deser representada em uma pintura histórica. Aun segundo los paradigmas de la forma de la pintura histórica,David hizo uso de los hechos de la Antigüedad Clásica no solo cómo orientación moral, sino también cómo posicionamiento político ydirectriz práctica en la entonces emergente revolución iniciada enFrancia. Los lictores trayendo a Bruto los cuerpos de sus hijos (1789) esun ejemplo del carácter republicano por excelencia y, por eso, tambiénde acción revolucionaria en el contexto de la monarquía. Después dela Revolución, David pintó La muerte de Marat (1793), en la cual,valiendo-se de la forma de la pintura histórica, retrató un personaje yun tema de la historia contemporánea. Finalmente, la Francia, ahorarepublicada, era digna de ser representada en una pintura histórica. Following the paradigms of the historical painting form, Daviduses the acts of Classical Antiquity not only as a moral orientation,but as a political position and practical guiding in the then emergingrevolution in France. The Lictors Bring to Brutus the Bodies of His Sons(1789 ) is an example of the republican feature par excellence and,therefore, of revolutionary action in the monarchy’s context. After theRevolution, David painted The Death of Marat (1793), a work in which,using the form of historical painting, portrays a character and a themeof contemporary history. Finally, France, now republican, was worthy ofrepresentation in a historical painting.

O presente artigo propõe uma leitura interpretativa do quadro Marte desarmado por Vênus e pelas Graças, última obra do pintor Jacques-Louis David, realizada em seu exílio em Bruxelas, entre 1822 e 1824. Essa obra rompe de modo peculiar com os cânones da estética neoclassicista, da qual David foi um dos fundadores e um dos principais expoentes. Em função disso, a obra teve e ainda tem uma complexa e contraditória recepção. Partindo da descrição da obra e considerando a história de sua recepção, este artigo buscará mostrar que o quadro manifesta de modo consequente a posição de David tanto em relação ao debate estético da época, quanto à situação política na Europa no período da Restauração dos Bourbon. O método que orienta a presente leitura inspira-se na concepção figurativa da história de Walter Benjamin, que não será, porém, debatida em detalhe aqui. This paper proposes an interpretation of Mars desarmed from Venus and the Graces, Jacques-Louis David's last painting, done during his exile in Brussels, between 1822 and 1824. This painting breaks in a particular way with the new-classical canons, which David founded together with others artists and whom he was one of the most important representative. Therefore, the painting's reception was and is yet very complex and contradictory. Parting from the description of the painting and considering its history of reception, this article aims to show that this work expresses in a quite consequent manner David's position concerning the aesthetical debate of his time and the political situation in Europe during Bourbon's Restoration. The method used for the present interpretation was inspired by Walter Benjamin's figural conception of history, that, however, cannot be discussed in details here.

The article is a new interpretation of the years spent in exile by Jacques-Louis David. His production, the encounters and the exhibitions curated by the artist himself, are investigated. An original exam of some of his paintings is proposed. They are considered as expression of his need for peace and tranquillity, but also for a restraint, which sometimes becomes abstention and epoché, both revealing of a style that goes further Neoclassicism.

The question of homoerotic sensibility is, in the purpose of this thesis, a matter of visual language connected to the portrayal of male bodies. By identifying this sensibility throughout the western art canon the essay seeks to understand its origins, development and function in relation to expressions of power. With the introduction of theorists such as Alois Riegl, Laura Mulvey, Abigail Solomon-Godeau and Raewyn Connell, the aim is to deconstruct homosexual masculinity. Adapting formal analysis and parts of visual semiotics, the focus lies on the visual expression of power through the homoerotic gaze, and asks what consequences it has in forming homosexual identity. Greek antiquity is home not only to the ideals that foster western art history, but is also where we find early examples of same-sex affection being portrayed in the arts. Hence classical antiquity is so important for the homoerotic: whenever the classical language of style is popular throughout history, we are sure to find homoerotic sensibility. For reasons mentioned, the main periods analyzed are the Italian Renaissance, the French Neoclassicism and then, naturally the late 20th century onwards as this is the period of gay liberation and modern homosexual identity. By identifying classical acceptance of homosexual relations only in the form of a clear social hierarchy, we soon discover how homosexuality has appropriated the idea of binary difference within its masculinity throughout history. Accepting relationships only between erastes and eromenos, or man and ephebe, homosexuality is forced to exist only on the terms of difference of power. With classical ideals, these tendencies are recurring in the visual representation of male homosexuality, and becomes a big part of the liberation and forming of a modern identity in the late twentieth century. As a result of objectification of the male body, in combination with idealized and sexualized power, modern gay culture has in many ways embraced a destructive culture shaped by misogynist ideas of hegemonic culture, where sexual violence exists, but is not spoken of.

Este trabalho tem como objetivo a análise das obras de Jacques-Louis David, pintor referência do estilo Neoclássico, no período de 1784 a 1799. Pretende-se, através de uma leitura interdisciplinar – relacionando arte, história e psicanálise –, compreender as transformações estilísticas observada nas obras como expressão de uma mutação no vínculo entre virtude e terror. A hipótese é que a violência está intrinsicamente relacionada a essas mudanças, como também o trauma causado por ela. A partir do instrumental da psicanálise, conceitos como luto, perlaboração e trauma, serão utilizados para apreender o conflito existente entre as obras pré-revolucionárias de David e as modificações que ocorreram diante do trauma causado pelo Terror. Posteriormente, com a derrocada de Robespierre em 1794, a obra de David se altera novamente e a complexidade dos elementos simbólicos que compõe suas telas também. David é um raro caso de artista que se envolveu diretamente com a Revolução, não apenas para representá-la artisticamente, mas para vivenciá-la. Como sobrevivente do período revolucionário, ele viverá o bastante para reavaliar os acontecimentos. Em 1799, com a exposição da obra As Sabinas, podemos perceber uma significativa mudança na concepção do pintor quanto à função da arte e seu posicionamento quanto aos rumos tomados pela Revolução Francesa. This work aims to analyze the works of Jacques-Louis David, a reference painter of the Neoclassical style, from 1784 to 1799. It is intended, through an interdisciplinary reading - relating art, history and psychoanalysis - to understand the stylistic transformations observed in works as an expression of a mutation in the link between virtue and terror. The hypothesis is that violence is intrinsically related to these changes, as well as the trauma caused by it. From the instruments of psychoanalysis, concepts such as mourning, perlaboration and trauma, will be used to apprehend the conflict between David's pre-revolutionary works and the changes that occurred in the face of the trauma caused by Terror. Subsequently, with the overthrow of Robespierre in 1794, David's work again changes and the complexity of the symbolic elements that make up his paintings as well. David is a rare case of an artist who became directly involved with the Revolution, not only to represent it artistically, but to experience it. As a survivor of the revolutionary period, he will live long enough to reevaluate events. In 1799, with the exhibition of the work The Sabines, we can perceive a significant change in the painter's conception of the function of art and its positioning on the directions taken by the French Revolution. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES

This paper proposes an interpretation of Mars desarmed from Venus and the Graces, Jacques-Louis David's last painting, done during his exile in Brussels, between 1822 and 1824. This painting breaks in a particular way with the new-classical canons, which David founded together with others artists and whom he was one of the most important representative. Therefore, the painting's reception was and is yet very complex and contradictory. Parting from the description of the painting and considering its history of reception, this article aims to show that this work expresses in a quite consequent manner David's position concerning the aesthetical debate of his time and the political situation in Europe during Bourbon's Restoration. The method used for the present interpretation was inspired by Walter Benjamin's figural conception of history, that, however, cannot be discussed in details here. O presente artigo propõe uma leitura interpretativa do quadro Marte desarmado por Vênus e pelas Graças, de Jacques Louis David. Esta obra rompe de modo peculiar com os cânones da estética neo-classicista. Por isso, teve e ainda tem uma recepção complexa e contraditória. Este artigo buscará mostrar que o quadro manifesta de modo consequente a posição de David tanto em relação ao debate estético da época, quanto à situação política na Europa no período da Restauração. O método que orienta a presente leitura inspira-se na concepção figurativa da história de Walter Benjamin.

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RESUMO O artigo analisa a produção pictórica de Jacques-Louis David entre o final da década de 1770 e 1793, destacando o entrelaçamento entre arte, religião e política nas obras do artista francês. Em sua luta contra o Antigo Regime, “filósofos artistas”, como Jacques-Louis David, apossaram-se das armas que eram manipuladas, há séculos, por um de seus principais inimigos: a Igreja. A transmissão do ideário iluminista não poderia ficar restrita à “aridez” dos textos acadêmicos, devendo buscar na religião e nas artes o “encantamento” indispensável à conquista de olhos, ouvidos, cérebros e corações. Depois de recorrer aos heróis das antigas Grécia e Roma, Jacques-Louis David debruçou-se sobre os homens do seu tempo: os deputados de O juramento do jogo de pela e os mártires que sacrificaram suas vidas em prol da revolução. Entrelaçando a arte clássica com a cristã, razão, revolução e religião, Jacques-Louis David forjou estratégias que seriam mobilizadas na propagação de líderes e ideários políticos nos séculos XIX e XX. ABSTRACT The article analyzes the pictorial production of Jacques-Louis David between the late 1770s and 1793, highlighting the links between art, religion and politics in the works of the French artist. In their struggle against the Old Regime “philosophers artists,” as Jacques-Louis David, they took possession of the weapons that were manipulated for centuries by one of its main enemies: the Church. The transmission of Enlightenment ideas could not be restricted to “aridity” of academic papers and should seek in religion and the arts the “enchantment” indispensable to the conquest of eyes, ears, brains and hearts. After resorting to the heroes of ancient Greece and Rome, Jacques-Louis David leaned across the men of his time: the deputies of Tennis Court Oath and the martyrs who sacrificed their lives for the sake of revolution. Interweaving classical art with Christian art, reason, revolution and religion, Jacques-Louis David forged strategies that would be mobilized in the spread of political leaders and ideologies in the nineteenth and twentieth centuries.

Entre 1793 i 1794, durant l’anomenat «Gran Terror», els retrats dels «màrtirs revolucionaris» de Jacques-Louis David van desarticular les bases de la pintura d’història en eliminar la narració i l’espai de la perspectiva tal com havien estat concebuts des del Renaixement. Aquest article indaga en aquest procés a través de l’entramat polític, social i religiós que es va engegar durant la República jacobina., During the so-called “Reign of Terror” from 1793 to 1794, the portraits of “revolutionary martyrs” by Jacques-Louis David dismantled the foundations of history painting, thus erasing the principles of pictorial narrative and perspective existing since theRenaissance. The purpose of this paper is to explore this process through the political, social and religious framework constructed during the Jacobin Republic.

Godine 1903. vlastelin iz Vrbovca marquis de Piennes donirao je Strossmayerovoj galeriji starih majstora jedanaest slika među kojima je bio i Portret nepoznate djevojke Antoine-Jeana Grosa (1771.–1835.). Éduard Herriot, autor opsežne biografije Juliette Récamier, prilikom posjeta Strossmayerovoj galeriji 1929. godine utvrdio je da spomenuti portret predstavlja upravo gospođu Récamier, proslavljenu ljepoticu i prijateljicu Madame de Staël kao i mnogih umjetnika, književnika, i mislilaca prve polovine 19. stoljeća. Od tada počinju dvojbe francuskih povjesničara umjetnosti vezane uz identitet predstavljene osobe, kao i autora portreta. Danas je opće prihvaćeno da je riječ o portretu Madame Récamier, međutim autorstvo djela još je uvijek upitno. Članak donosi presjek različitih mišljenja stručnjaka, činjenice koje govore u prilog Antoine-Jeana Grosa, i razmatra mogućnosti za konačno rješenje autorstva slike., Madame Récamier, born as Jeanne Françoise Julie Adélaïde Bernard on 3 December 1777 in Lyon, was definitely one of the most intriguing personalities of the first half of the 19th century in France. As the leading trend-setter in Paris in the age of the French Consulate and the Empire, her receptions gathered renowned artists, writers, actors and politicians of the period. Her exciting life, from luxurious soirées and the exile from Paris by the orders of Napoleon, to the refuge in the convent of Abbaye-aux-Bois, ended in 1849 after having succumbed to cholera. This beauty from Lyon was portrayed by numerous French and European artists, but her most important portraits were executed by Jacques-Louis David (1748–1825) and by painters from his studio. Several variants of her portrait were painted by François Gérard (1770–1837), while one portrait is attributed to David’s most devoted follower Antoine-Jean Gros (1771–1835). Gros’s Portrait of Madame Récamier was bequeathed to the Strossmayer Gallery of Old Masters of the Yugoslav (now Croatian) Academy of Sciences and Arts in 1903 by the estate-owner from Vrbovec marquis de Piennes, along with ten other paintings. Although the painting in question was exhibited at the exhibition Portraits du Siècle at the École des Beaux-Arts in Paris in 1885, bearing the same title and attribution to Gros, the marquis referred to a different painting – executed by an unknown 19th-century painter and entitled Portrait of a Girl – as the portrait of Madame Récamier. Consequently, catalogues of the Strossmayer Gallery published between 1911 and 1926 list Gros’s painting as Portrait of an Unknown Young Lady in. In 1929 the Gallery was visited by Éduard Herriot (1872–1957), French politician, writer and the author of a biography of Juliette Récamier, who concluded that the Portrait of an Unknown Young Lady actually represents Madame Récamier, so Gallery catalogues published from 1932 to the present day list the painting under this title. French art historians were not unanimous as to the identity of the portrayed person and Gros’s authorship. The opinion that the painting represents Madame Récamier was eventually accepted, especially after the exhibition Juliette Récamier – Muse et mécene held in 2009 in Lyon; however, the authorship of the painting remained questionable. The present article offers a thorough analysis of these dilemmas and confronts newly found archival records to the published and unpublished photographic material, in an effort to create the preconditions for identifying Antoine-Jean Gros as the author of the Portrait of Madame Récamier from the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts.

Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque, This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.

Issue d’une première tentative de synthèse portant sur la peinture monumentale religieuse à Lille dans la seconde moitié du XIXe siècle, cette étude permet d’exhumer l’œuvre d’artistes régionaux, mais également belges et néerlandais, mettant en évidence le rôle de carrefour de l’actuelle métropole lilloise. Dans une région fortement marquée par le catholicisme, les sujets traités sont à la fois le reflet des dévotions nationales et de cultes plus locaux, que ce soit à travers la figure de saint Vincent de Paul, le rôle de la Vierge ou la dévotion aux âmes du purgatoire qui prend une importance particulière à partir du foyer de Loos. Cette expression artistique et religieuse se développe sous la forme de grands cycles dont la réalisation connaît son apogée sous la IIIe République, en particulier de 1880 à 1900. Une fois ce panorama dressé, il devient possible d’interroger les catégories traditionnelles de l’art à cette époque, la notion centrale de primitivisme et les jugements de valeur auxquels cette peinture est encore souvent soumise.This article is based on a synthetic analysis of monumental religious painting at Lille during the second half of the 19th century. This study led to the rediscovery of many regional artists, but also Belgian and Dutch artists, underlining the long history of Lille’s present-day position as an international crossroads. In a region which was strongly marked by Catholicism, the subjects dealt with offer a reflection of national devotional practices but also draw attention to more local cults. Examples here include the figure of Saint Vincent de Paul, the role of the Virgin Mary and the devotion to souls in purgatory, which is particularly important in Loos. This artistic and religious expression develops according to major cycles which reached a high point during the Third Republic, and particularly from 1880 to 1890. Once this general overview has been established, it becomes possible to take a closer look at the traditional categories of art at the time, at the central notion of primitivism and at the negative value judgements from which this kind of painting still often suffers.

Kroz Davidovu umjetnost tijekom Carstva, za vrijeme Napoleona, i za vrijeme restauracije u mogućnosti smo pratiti njegove nove kreativne pravce i odnos umjetnosti i politike.