Lessons from the Life of Jacques-Louis David

On my recent trip to NYC, I visited the Met. When I visit museums, I “oh and ah” over the majesty of so many amazing works of art but I also find myself getting a little too close trying to study the brushstrokes. I stand at weird angles so I can see the reflection of light on the surface of the canvases. Did this artist use lots of linseed oil or utilize the glazing technique? Did conservationists clean off old varnish and add a new layer? I desperately seek to know the artistic process.

One part of the Met that really helped me to understand some of this was an exhibit featuring the preliminary sketches and drawings by Jacques-Louis David.

David (pronounced Dah-veed) has been one of my favorite artists for awhile because of his artistic mastery but what particularly stands out about him to me is how he survived such incredible and violent governmental changes in France. From drawing and painting Louis XVI and Marie Antoinette to being the primary propaganda painter for Robespierre during the Reign of Terror to becoming the official court painter of Napoleon, he saw it all!

In the exhibition, we can see how David prepared for his prolific works by taking charcoal and chalk to paper. When I teach this topic, I often ask my students, “why did he do this rather than jumping straight into painting on canvas?” The obvious (and right) answer I receive is, “for planning purposes.” I believe there is more to it though. I counter my students with, “oil paint is easy to rework and fix if mistakes are made.” One thing most people do not consider in our modern, material world is the cost of canvas and oil paints before the industrial era. In a time where artists had to have a designated space to mix the minerals and purchase a variety of pigments to color their paints, it could get expensive very quickly so there was no space for wasting paint and other supplies. Meanwhile, paper, charcoal, and chalk were relatively easy to come by in 18th century Europe.

What I found especially interesting about David’s preliminary sketches is that he would draw sections of his planned painting on different pieces of paper. For example, if he was planning a painting with a variety of scenes/vignettes of different groups of people, he would use a separate piece of paper per scene. You can see that here in some of the images I have shared.

He also used the artistic method of grid drawing which can be identified by the horizontal and vertical lines across many of his sketches seen here. This was utilized for accuracy.

In my opinion, one of his most important sketches was the Tennis Court Oath scene. The incredible detail on this small piece of paper, alone, is amazing. Yet, what really stands out is that he never got around to painting this scene on a canvas, despite the immense importance of this moment. Why did he never paint it after completing such a detailed sketch?

If you know anything about the French Revolutionary Era, you will know that things were rapidly changing. One government leader could be overthrown in under a year of taking power. In the initial days of the French Revolution, the people of France called for more representation in government. They simply wanted Louis XVI to cede some of his power, but not entirely give it up. They desired a constitutional monarchy. Several members of the Estates General gathered together to take an oath that they would not disband until the king had granted this power to the French people.

Very quickly, things became much more radical as some, known as the Jacobins, started calling for the complete removal of the monarchs, Louis XVI and Marie Antoinette. Eventually, it led to calls for their death. At this point, the Jacobins split into two groups—the Girondins and the Mountain. The Mountain wanted way more extreme changes than the Girondins and once the monarchs were executed by guillotine, the Mountain began viewing the Girondins as enemies. They were then quickly executed. Many of the individuals depicted in the Tennis Court Oath drawing by David were of the Girondin views. Keep in mind the group known as the Girondins really only lasted for two years, from 1791-1793.

So, between 1791, the year of the Tennis Court Oath drawing, and 1793, many of these revolutionary leaders had been killed or no longer were relevant. Below, you can see the incomplete Tennis Court Oath painting that David began but never completed. To rise to power and then be executed in such a short amount of time is pretty insane.

The incomplete painting above features pencil outlines and washes of paint over the faces of a few key figures during the French Revolution.

Robespierre, the infamous leader of the Reign of Terror, then hired David to be the propaganda artist of his radical regime. It was at this time that David painted one of his most famous works, The Death of Marat.

Eventually, Robespierre also fell victim to the guillotine. Within a few years, Napoleon formed a coup d’état and took over. Guess who became his official court painter? David. How David survived these changes in French leadership, is absolutely crazy to me.

By the time the Bourbon Monarchy was restored after the fall of Napoleon, things finally caught up to David. He was shunned from France and spent his remaining years in Belgium. He continued to send drawings back to France in hopes of securing another commission but these were rejected. Many of these drawings are included in this exhibit at the Met.

So what is the takeaway of this artist’s story? I think it both proves the superior skill of David and his willingness to adapt to change, which are both essential to becoming a successful artist. This time in history also should give us the foresight to question governmental changes that can hurt any one group of people. Big changes in governmental rights can quickly lead to radical changes. As Edmund Burke said, “Rage and frenzy will pull down more in half an hour, than prudence, deliberation, and foresight can build up in an hundred years…Those who attempt to level, never equalize…”

If you are in New York City, go check out this exhibit! It’s on display until May 15, 2022. Click here to learn more information about the exhibit.

These pieces serve as a time capsule to the French Revolutionary Era and give us a glimpse into the process of one of the most famous artists in the world.