Photograph Credits

Lajer-Burcharth, Ewa

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Photograph Credits

Ewa Lajer-Burcharth

Necklines: The Art of Jacques-Louis David after the Terror

Photograph Credits

Author

Ewa Lajer-Burcharth

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-23008

Photograph Credits

Courtesy Art Institute of Chicago: fig. 39

Bibliothèque municipale de Lyon: fig. 105

© Bibliothèque nationale de France—Paris: figs. 3–6, 10, 15, 18, 19, 38, 48, 49, 56, 58–60, 71, 77, 78, 80–82, 86–88, 90, 92, 94, 97–100, 104, 107, 110, 115, 120, 121, 124–26, 130, 134, 143, 149, and 151

Photo Bulloz, Paris: fig. 135

ENSBA: plate 4

Courtesy Fischer Gallery, Paris: fig. 25

Courtesy Galerie Bruno de Bayser, Paris: fig. 41

Photo © Giraudon: fig. 13

Photo © Giraudon/Art Resource, New York: fig. 109

Courtesy Hazlitt, Gooden, and Fox Gallery, London: fig. 40

Hermitage Museum, Saint Petersburg: plate 3

Courtesy Horvitz Collection, Fogg Art Museum: fig. 63

Courtesy of the Huntington Library, Art Galleries and Botanical Gardens, San Marino, Calif.: fig. 54

Musée des Beaux-Arts, Rennes: fig. 36

Musée des Beaux-Arts, Angers: fig. 73

National Gallery, London: fig. 154

National Gallery, Ottawa: fig. 43

National Gallery of Art, Washington, D.C.: fig. 42

Photothèque des musées de la Ville de Paris: figs. 7, 11, 91, 93, 102, 116, and 117

Photo © R.M.N.: Plate 6 (Gérard Blot); (R. G. Ojeda); and 11; figs. 1, 2, 8, 9, 14, 16, 17, 20–22, 28–33, 35, 45, 47, 50, 51, 55, 62, 66–69, 73–76, 84, 89, 103, 106, 108, 111–13, 118, 122, 127–29, 131, 139, 140, 144–46, 148, 150, 152, and 153

Photo Studio BASSET: fig. 114

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Book details

BOOKNecklines: The Art of Jacques-Louis David after the Terror

Ewa Lajer-Burcharth

https://doi.org/10.37862/aaeportal.00327

Stable URL: https://aaeportal.com/?id=-22998

Twice imprisoned after the fall of Robespierre, French painter Jacques-Louis David (1748–1825) faced an artistic and personal crisis as the political and cultural values he had embraced crumbled in the mid-1790s. This strikingly original book examines the crucial period of David’s artistic career as he struggled both to "save his neck" and to recast his identity in the aftermath of the Reign of Terror. Ewa Lajer-Burcharth examines David’s work in the context of the larger cultural and social formations emerging in France and offers a fascinating new perspective on his paintings and on French artistic culture at an important moment in its history.

The book begins with a close examination of the work David produced while in prison. Lajer-Burcharth first considers the artist’s self-representations, focusing on Self-Portrait and Abandoned Psyche, and addresses his crisis of individual identity. She goes on to look at David’s effort to redefine himself as a history painter after the Terror and at his engagement with the collective memory of the Revolution. In her analysis of the broader search for a new republican identity, the author frames her discussion around David’s Sabine Women, the sketches for which he had prepared in prison, and places special attention on the privileged role of women and femininity as signs that both David and other citizens employed to establish distance and difference from the Terror. The book concludes with a brilliant interpretation of David’s unfinished portrait of Juliette Récamier and its complex relation to the process of cultural reinvention of the self as a function of desire.

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Author

Ewa Lajer-Burcharth

PublisherYale University Press

Print publication date October 1999 (out of print)

Print ISBN 9780300074215

EISBN 9780300272314

Illustrations 172

Print Status out of print

Publisher (out of print)

WorldCat

Google Books

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