Eassy Analysis
Analysis of Jacques-Louis David 's Painting Entitled "The Death of Socrates" 1787
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Analysis of Jacques-Louis David 's Painting Entitled "The Death of Socrates" 1787
Introduction
Sociologists, political scientists, philosophers and many within the social sciences and humanities have the same problems that historians to connect with wider audiences. Biologists, physicists and chemists (perhaps with greater success) must also deal with the same difficulty. This is undoubtedly a general issue regards the academy as a whole. The main aim of documenting this paper is to analyse one of the famous paintings of Jacques Louis David (1748-1825).
Discussion
Jacques-Louis David was a very influential painter in the neoclassical style. He sought inspiration in the Greek mythological sculptures and models, based on its austerity and severity, which fit with the moral climate of the final years of the old regime. David later became an active participant in the French Revolution and friend of Maximilien de Robespierre was actually the leader of the arts under the French Republic (Monoson, 2011). He was imprisoned after Robespierre 's fall from power, later sided with the advent of another political regime of Napoleon Bonaparte. It was at this time that he developed his 'Empire style ', notable for its use of warm Venetian style colours. His many students include Antoine-Jean Gros, Anne-Louis Girodet de Roucy-Triosson and the best known of all Jean Auguste Dominique Ingres. This made him the most influential painter of the nineteenth-century French art, especially in academic paintings (Blum, 2010).
The way that David won the revolution is a marvel of imagination, good conscience and delirium. It was not his exclusive work, but he took his end sublime and abstract, to eternity. Suddenly those citizens unwashed and smelly peoples or covered with robes, sandals shod, women collected their hair with a braid of myrtle and out into the
[Author Name]
[Institute Name]
Analysis of Jacques-Louis David 's Painting Entitled "The Death of Socrates" 1787
Introduction
Sociologists, political scientists, philosophers and many within the social sciences and humanities have the same problems that historians to connect with wider audiences. Biologists, physicists and chemists (perhaps with greater success) must also deal with the same difficulty. This is undoubtedly a general issue regards the academy as a whole. The main aim of documenting this paper is to analyse one of the famous paintings of Jacques Louis David (1748-1825).
Discussion
Jacques-Louis David was a very influential painter in the neoclassical style. He sought inspiration in the Greek mythological sculptures and models, based on its austerity and severity, which fit with the moral climate of the final years of the old regime. David later became an active participant in the French Revolution and friend of Maximilien de Robespierre was actually the leader of the arts under the French Republic (Monoson, 2011). He was imprisoned after Robespierre 's fall from power, later sided with the advent of another political regime of Napoleon Bonaparte. It was at this time that he developed his 'Empire style ', notable for its use of warm Venetian style colours. His many students include Antoine-Jean Gros, Anne-Louis Girodet de Roucy-Triosson and the best known of all Jean Auguste Dominique Ingres. This made him the most influential painter of the nineteenth-century French art, especially in academic paintings (Blum, 2010).
The way that David won the revolution is a marvel of imagination, good conscience and delirium. It was not his exclusive work, but he took his end sublime and abstract, to eternity. Suddenly those citizens unwashed and smelly peoples or covered with robes, sandals shod, women collected their hair with a braid of myrtle and out into the
References: Johnson, D. (2011). David to Delacroix: The Rise of Romantic Mythology. Univ of North Carolina Press. Tunzelmann, M. (2011). Reflexive Vectors: Art, Anatomy and Death in Cowper and Gamelin. Spectacular Death: Interdisciplinary Perspectives on Mortality and (Un) Representability, 59.