The Cairo daily bulletin. (Cairo, Ill.) 1870-1872, 1872-09-29
MISCELLANEOUS.
LOUIS JACQUES DAVID.

LOUIS JACQUES DAVID.
Louis Jacques David is considered
the great historical painter of his ma
ton. He was born in Paris in 174S.
He endeavored to restore art in France
by reviving the taste for antique beauty
He took an important part in the events
of the revolution impassioned by the
republics of Greece and Rome he
hoped to transplant their institutions to
France. He was named member of the
convention in 1892, and was remarka-
bic for his republican ardor he voted
for the death of Louis XVI, sat with
the Montaguards, and was for a short
time president OF the assembly. The
death of Murat furnished him with
subject for celebrated painting. At
the end Of the year 1896, he gave up
politics and devoted himself entirely to
art. Upon the restoration Of the Bour-
bons, David was exiled, and died at
Brussels in 1925. The government
would not even permit his remains to
be brought to France. The Bel
gians erected monument to him.
Among his pupils were Gerard, Giro
Diet, Gros, lngres, and Leopold Robert.
In most Of the works of David one
feels his ardent love for the grand old
heroic stories from Grecian and Ro-
man history, for the subjects of his
finest paintings are drawn from these
sources. His works are characterized
by elevation of thought, simplicity and
clearness in the arrangement of the
composition, boldness and truth in
drawing, and warmth and delicacy of
coloring. Several of his large histori-
cal paintings are at the Versailles.
They are in gloriication of Napoleon
l. In my opinion his finest works
are at the Louvre. "The Rape of the
Sabine Women" and "Leonidas at
Thermopyle,' are placed among the
great pictures of the French school.
In the picture of the Sabine Women,
David has seized the moment when Sa-
bines and Romans alike seem absorbed
in witnessing the games in honor of
one Of their gods. AT given signal
the Roman youths seize all the mar
riageable Sabine women. The work is
full Of energetic action and strong ex-
preston. Sabines and Romans are
tiercely fighting in the foreground
Romulus stands, about to throw his
javelin at the Sabine chief, who braces
himself to avoid it, his shield ready to
guard his body from mortal wound,
his eye keenly watching every moment
Of the antagonist. At this instant the
wife of Romulus is trying to part the
combatants. At one side an old Sabine
women is striving to protect her young
daughter from Roman soldier who is
about to carry her off. The old women
of David are never old hays, as are
often the old women of Poussin they
are venerable and full of dignity, even
in misfortune.
To Inc the most charming of David's
works is the one called ''The loves of
Paris and Helen" Paris, seated upon
an antique chair, Tyre in his hand, is
turning to look at Helen, who is stand
ing just behind him and leaning upon
his shoulder in front of them is
fountain, and back of them is couch,
draperies, etc. The great charms of
this picture are the glowing, yet deli.
cate flesh tints, and the expression of
quiet happiness in the faces. 1t has
wonderful powers Of fascination in
looking at it one can almost believe
that the flesh is warm and palpitating
with life. La Belle Helene does not
look at all like the beautiful but false
wife, who caused a long and dreadful
war, but is as demure, sweet and modest
as the most exactng of husbands could
desire. The picture is very beautiful
and if one can make due allowance for
the eccentricity in the morals of those
old Greek myths, one may derive much
pleasure in contemplating this exquisite
piece of art.
Nearly opposite to this picture of
Paris and Helen is Il full length por-
trait of Madame Recamier. She is
dressed in white and is lying upon u
couch Of antique form. On the left
stands large bronze candelabra. In
this picture Madame Recamier is repre-
scented as quite young, and the face ex-
presses the sweetness and lovableness of
character for which she was as re-
nowned as for her beauty. These
grand masters introduce one into such
delightful company that one is betrayed
into forgetfulness of time, and l must
now leave the Louvre, hoping, however,
that the readers of The Art Review
will some time take another quiet walk
with me through its enchanting halls
Art Reriep.
ETrRNAnE UEAT