Antoine-Laurent de Lavoisier, also Antoine Lavoisier after the French Revolution, was a French nobleman and chemist who was central to the 18th-century chemical revolution and who had a large influence on both the history of chemistry and the history of biology.
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, severity, and heightened feeling, which harmonized 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.
Antoine-Jean Gros was a French painter of historical subjects. He was granted the title of Baron Gros in 1824.
The ferme générale was, in ancien régime France, essentially an outsourced customs, excise and indirect tax operation. It collected duties on behalf of the King, under renewable six-year contracts. The major tax collectors in that highly unpopular tax farming system were known as the fermiers généraux, which would be tax farmers-general in English.
Marie-Denise Villers was a French painter who specialized in portraits.
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 assassination by Charlotte Corday on 13 July 1793.
Marie-Anne Pierrette Paulze Lavoisier, later Countess von Rumford, was a French chemist and noblewoman. Madame Lavoisier's first husband was the chemist and nobleman Antoine Lavoisier. She acted as his laboratory companion, using her linguistic skills to write up his work and bring it to an international audience. She also played a pivotal role in the translation of several scientific works, and was instrumental to the standardization of the scientific method.
Antoine Lavoisier (1743–1794) was a French chemist.
The Death of Socrates is an oil on canvas painted by French painter Jacques-Louis David in 1787. The painting was part of the neoclassical style, popular in the 1780s, that depicted subjects from the Classical age, in this case the story of the execution of Socrates as told by Plato in his Phaedo. In this story, Socrates has been convicted of corrupting the youth of Athens and introducing strange gods, and has been sentenced to die by drinking poison hemlock. Socrates uses his death as a final lesson for his pupils rather than fleeing when the opportunity arises, and faces it calmly. The Phaedo depicts the death of Socrates and is also Plato's fourth and last dialogue to detail the philosopher's final days, which is also detailed in Euthyphro, Apology, and Crito.
The Lictors Bring to Brutus the Bodies of His Sons is a work in oils by the French artist Jacques-Louis David. On a canvas of 146 square feet, this painting was first exhibited at the Paris Salon in 1789. The subject is the Roman leader Lucius Junius Brutus, founder of the Roman Republic, contemplating the fate of his sons. They had conspired to overthrow the republic and restore the monarchy, and Brutus himself was compelled to order their deaths. In doing so, Brutus became the heroic defender of the republic, at the cost of his own family. The painting was a bold allegory of civic virtue with immense resonance for the growing cause of republicanism. Its themes of virtue, sacrifice, and devotion to the nation sparked much controversy when it was unveiled in the politically charged era of the French Revolution.
Equestrian Portrait of Count Stanislas Potocki is an oil painting on canvas completed by the French Neo-Classical painter Jacques-Louis David in 1781. A large-scale equestrian portrait, the work depicts a Polish politician, nobleman, and writer of the Enlightenment Period, Stanisław Kostka Potocki. The artist shows Potocki on horseback and wearing the sash of the Polish Order of the White Eagle. As Potocki tips his hat in a welcoming gesture to the viewer, the horse bows, while a dog can be seen barking in the lower left-hand corner of the painting.
A Pierrette is, in the theatre, a female Pierrot
Self-Portrait(in French: Autoportrait) is the title of a self-portrait painted by the artist Jacques-Louis David in 1794 while in imprisoned at the Hôtel des Fermes for having supported the Robespierreans. It was his third and last self-portrait. He gave the work to his former student Jean-Baptiste Isabey. It entered the collections of the Louvre in 1852.
Marie Anne or Marie-Anne is the name of:
Armand Jean François Séguin or Segouin was a French chemist and physiologist who discovered a faster and cheaper process for tanning leather. As a result, he became immensely rich through the supply of leather to Napoleon's armies. He was born on March 21, 1767, in Paris and died on January 23, 1835.
Psyche Abandoned is a c. 1795 painting by Jacques-Louis David, now in a private collection. It shows Psyche as a crouching female nude in profile against a blue sky with a hill in the background. She stares at the viewer with an expression of loss, pain, and betrayal. Thought to have been painted during David's imprisonment during the French Revolution, it dates from either 1794 or 1795. Vertical in format, it diverges from the academic conventions for representing the female nude.
Portrait of Charlotte du Val d'Ognes is an 1801 painting attributed to Marie-Denise Villers. It is in the collection of the Metropolitan Museum of Art. The painting was first acquired by the museum in 1922 and attributed to Jacques Louis David. Later, the painting was attributed to Constance Marie Charpentier and finally to Villers.
Neoclassicism is a movement in architecture, design and the arts which emerged in France in the 1740s and became 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 Madeleine, also known as Portrait of a Black Woman, is an oil-on-canvas painting by the French artist Marie-Guillemine Benoist, created in 1800. It was exhibited at the Paris Salon in 1800, later was acquired by Louis XVIII for the French state in 1818, and remains in the collection of the Louvre.
