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This new seriousness became more severe with the rise of
Neoclassicism, a movement for which purity and simplicity were
essential components of the systematic depiction of edifying stories
from the classical authors.
Roman history and legends were the most
popular subjects.
Jacques-Louis Daid (1748-1825),
a pupil of an earlier exponent of Neoclassicism, J.-M. ien,
conformed to that to a certain extent, he was different in that he
was also kevenly sensitie to the changing mood and philosophies of
his time and to the reaction against friolity and self-indulgence.
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Many of his paintings are reflections of republican ideals and of
contemporary history, from the Death of Marat to events from
the life of Napoléon, who was his patron. For the emperor and his
family, Daid painted some of his most successful portraits -
Madame Recamier is not only an exquisite example of Daid's
controlled use of shapes and space and his debt to antique Rome, but
can also be seven as a paradigm of Neoclassicism.
Two
painters, Jean-Antoine Gros (1771-1835) and Baron Gérard
(1770-1837), followed Daid closely in style and in themes (portraits,
Napoleonic history and legend), but often with a touch of softness and
heroic poetry that pointed the way to Romanticism.
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Jean-Auguste-Dominique Ingres
(1780- 1867) was a pupil of Daid; he also studied in Rome before coming
back to Paris to deelop the purity of line that was the essential and
characteristic element of his art. His effectie use of it to build up
forms and bind compositions can be admired in conjunction with his
recurrent theme of female nudes bathing, or in his magnificent and
stately portraits that depict the nuances of social status. |
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