Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s, his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity and severity and heightened feeling, harmonizing with the moral climate of the final years of the Ancien Régime.
Anne-Louis Girodet de Roussy-Trioson, also known as Anne-Louis Girodet-Trioson or simply Girodet, was a French painter and pupil of Jacques-Louis David, who participated in the early Romantic movement by including elements of eroticism in his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family.
Rambouillet is a subprefecture of the Yvelines department in the Île-de-France region of France. It is located beyond the outskirts of Paris, 44.3 km (27.5 mi) southwest of its centre. In 2018, the commune had a population of 26,933.
Jean-Baptiste Regnault was a French painter.
Antoine-Jean Gros was a French painter of historical subjects. He was given the title of Baron Gros in 1824.
Huningue is a commune in the Haut-Rhin department of Alsace in north-eastern France. Huningue is a northern suburb of the Swiss city of Basel. It also borders Germany. In 2008 it had a population of 6503 people. The main square of the town is the Place Abbatucci, named after the Corsican-born French general Jean Charles Abbatucci who unsuccessfully defended it in 1796 against the Austrians and died here. Huningue is noted for its pisciculture and is a major producer of fish eggs.
The Death of Marat is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his murder by Charlotte Corday on 13 July 1793. Art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".
The Louvre Palace, often referred to simply as the Louvre, is an iconic French palace located on the Right Bank of the Seine in Paris, occupying a vast expanse of land between the Tuileries Gardens and the church of Saint-Germain l'Auxerrois. Originally a defensive castle, it has served numerous government-related functions in the past, including intermittently as a royal residence between the 14th and 18th centuries. It is now mostly used by the Louvre Museum, which first opened there in 1793.
The Pavillon de Flore, part of the Palais du Louvre in Paris, France, stands at the southwest end of the Louvre, near the Pont Royal. It was originally constructed in 1607–1610, during the reign of Henry IV, as the corner pavilion between the Tuileries Palace to the north and the Louvre's Grande Galerie to the east. The pavilion was entirely redesigned and rebuilt by Hector Lefuel in 1864–1868 in a highly decorated Napoleon III style. Arguably the most famous sculpture on the exterior of the Louvre, Jean-Baptiste Carpeaux's Triumph of Flora, was added below the central pediment of the south facade at this time. The Tuileries Palace was burned by the Paris Commune in 1871, and a north facade, similar to the south facade, was added to the pavilion by Lefuel in 1874–1879. Currently, the Pavillon de Flore is part of the Musée du Louvre.
Second Empire style, also known as the Napoleon III style, is a highly eclectic style of architecture and decorative arts, which uses elements of many different historical styles, and also made innovative use of modern materials, such as iron frameworks and glass skylights. It flourished during the reign of Emperor Napoleon III in France (1852–1870) and had an important influence on architecture and decoration in the rest of Europe and North America. Major examples of the style include the Opéra Garnier (1862–1871) in Paris by Charles Garnier, the Bibliothèque nationale de France, the Church of Saint Augustine (1860–1871), and the Philadelphia City Hall (1871–1901). The architectural style was closely connected with Haussmann's renovation of Paris carried out during the Second Empire; the new buildings, such as the Opéra, were intended as the focal points of the new boulevards.
The Emperor Napoleon in His Study at the Tuileries is an 1812 painting by Jacques-Louis David. It shows French Emperor Napoleon I in uniform in his study at the Tuileries Palace. Despite the detail, it is unlikely that Napoleon posed for the portrait.
Robert Jacques François Faust Lefèvre was a French painter of portraits, history paintings and religious paintings. He was heavily influenced by Jacques-Louis David and his style is reminiscent of the antique.
Bon Joseph Dacier was a French historian, philologist and translator of ancient Greek. He became a Chevalier de l'Empire, then Baron de l'Empire. He also served as curator of the Bibliothèque nationale.
The Théâtre des Tuileries was a theatre in the former Tuileries Palace in Paris. It was also known as the Salle des Machines, because of its elaborate stage machinery, designed by the Italian theatre architects Gaspare Vigarani and his two sons, Carlo and Lodovico. Constructed in 1659–1661, it was originally intended for spectacular productions mounted by the court of the young Louis XIV, but in 1763 the theatre was greatly reduced in size and used in turn by the Paris Opera, the Comédie-Française, and the Théâtre de Monsieur. In 1808 Napoleon had a new theatre/ballroom built to the designs of the architects Percier and Fontaine. The Tuileries Palace and the theatre were destroyed by fire on 24 May 1871, during the Paris Commune.
Christ on the Cross is a 1782 oil-on-canvas painting by the French Neoclassical artist Jacques-Louis David. It was commissioned by marshal Louis de Noailles and his wife Catherine de Cossé-Brissac for their family chapel in the église des Capucins in Paris. One of David's few religious works, it is now in the église Saint-Vincent in Mâcon.
The Anger of Achilles is an oil-on-canvas painting of 1819 by the French artist Jacques-Louis David. It is in the collection of the Kimbell Art Museum, Fort Worth, Texas.
Neoclassicism is a movement in architecture, design and the arts which was dominant in France between about 1760 to 1830. It emerged as a reaction to the frivolity and excessive ornament of the baroque and rococo styles. In architecture it featured sobriety, straight lines, and forms, such as the pediment and colonnade, based on Ancient Greek and Roman models. In painting it featured heroism and sacrifice in the time of the ancient Romans and Greeks. It began late in the reign of Louis XV, became dominant under Louis XVI, and continued through the French Revolution, the French Directory, and the reign of Napoleon Bonaparte, and the Bourbon Restoration until 1830, when it was gradually replaced as the dominant style by romanticism and eclecticism.
Portrait of Alphonse Leroy is a 1783 portrait of doctor and man-midwife Alphonse Leroy by Jacques-Louis David, now in the Musée Fabre in Montpellier, which bought it in 1829.
Portrait of Philippe-Laurent de Joubert is an oil-on-canvas painting by the French artist Jacques-Louis David. Its date is unknown, but Antoine Schnapper argues that it was between 1790 and 1792, since the subject died on 30 March 1792. It was left incomplete like his portraits of Madame Trudaine and Madame Pastoret. It is now in the Musée Fabre in Montpellier.
The expansion of the Louvre under Napoleon III in the 1850s, known at the time and until the 1980s as the Nouveau Louvre or Louvre de Napoléon III, was an iconic project of the Second French Empire and a centerpiece of its ambitious transformation of Paris. Its design was initially produced by Louis Visconti and, after Visconti's death in late 1853, modified and executed by Hector Lefuel. It represented the completion of a centuries-long project, sometimes referred to as the grand dessein, to connect the old Louvre Palace around the Cour Carrée with the Tuileries Palace to the west. Following the Tuileries' arson at the end of the Paris Commune in 1871 and demolition a decade later, Napoleon III's nouveau Louvre became the eastern end of Paris's axe historique centered on the Champs-Élysées.
