<h1 class="pgc-h-arrow-right" data-track="1" > The Oath of the Three Brothers of Horace, created in the second half of the eighteenth century, is the most important work of neoclassical painting, when France and Paris were brewing a far-reaching great revolution in human history, the French Revolution. What impact did the appearance of this painting have on the politics and society at that time? </h1>
The outbreak of the Great Revolution and the long-simmering radical revolutionary enthusiasm among the broad masses of the people cannot but be reflected in the field of art. At this time, the delicate and elegant rococo art, which was deeply loved by the nobles and permeated the spirit of the nobility, was no longer suitable for the requirements of the times, and people longed for a majestic and powerful spiritual sublime art.
In France, the yearning for classical civilization, especially the remembrance of ancient Rome, was the common mentality of those bourgeois fighters and cultural people at that time. Amiyo's translation of Plutarch's Biography of Greco-Roman Celebrities became popular again, almost in one volume.
Archaeological excavations at the site of the roman ancient city of Pompeii vividly show the astonishing brilliance of ancient culture and classical art. The ideals and concepts put forward in Winkelmann's masterpieces "Meditations on Greek Painting and Sculpture" and "The History of Ancient Art" also greatly aroused the artist's fanatical worship of classical art such as Greco-Roman.
<h1 class="pgc-h-arrow-right" data-track="65" > came into being, and neoclassical art flourished in France, becoming a dominant trend in the French art scene in the second half of the eighteenth century and the beginning of the nineteenth century. </h1>
Jacques-Louis Darid is the most important representative of the French neoclassical school. Born in Paris in the mid-eighteenth century (August 30, 1748), he lost his father at an early age and was raised by his uncle. Davitt loved painting from an early age, and the most famous Rococo painter of the time, Boucher, was closely related to him, introduced by Boucher, and from 1765 Davitt entered the studio of Vienne. Wion was an academician of the Academy of Fine Arts, a painter with classical leanings, under who davitt studied the basics in the traditional way.
At that time, the biggest wish of art students was to go to Italy to study in Italy after winning the "Rome Prize" of the academy's creative competition. Davitt received the reward in 1774 after repeated setbacks. The following year, he accompanied Viang to Rome, whom he had long admired. Six years of living in a foreign country made him deeply influenced by classical masterpieces, and gradually formed his artistic outlook and the rigorous and powerful painting style.
Brutus Executing His Son (1789)
Davit returned to France in 1780. Due to the success of the painting "Andromede Lamenting Hector", he was elected a member of the Academy in 1784. The subsequent completion of the Oath of the Three Brothers of Horace is the most important work of neoclassical painting, which makes Davit the most striking figure in the French painting world. The 1789 book "Brutus who Executed His Son" enthusiastically praised the ancient Roman greats who spared no selfish interests and impartiality; this painting of contemporaneous spirit was immediately applauded by storms, and Davit's status as a painter of the new era was even more certain.
After the outbreak of the French Revolution, Davit threw himself into the movement and became a delegate to the National Convention, voting in favor of the execution of King Louis XVI of France. During this period, he became the supreme master of the art world, actively engaged in the art propaganda activities of the republic, closed the Royal Academy of Fine Arts, and vigorously promoted his own artistic ideas; at the same time, he also created some masterpieces, the most touching of which was "The Death of Mara" (1793), which was an eternal souvenir he dedicated to the leader of the Great Revolution; on this oil painting, Davitt's civic enthusiasm and artistic attainment were fully and harmoniously expressed.
The Death of Marat (1793)
After the Jacobins, led by Robespierre, lost power, Davitt was once arrested as a close friend of the "incorruptible". During his imprisonment, he painted his only splendid landscape from the window, The View of the Luxembourg Gardens (1794). After his release from prison, he created the classic masterpiece Taiping Woman (1799).
When the young general Napoleon became the supreme leader of France, Davit regained favor and painted many works celebrating this great man. Between 1805 and 1807, the empire's chief painter created the grandest oil painting of his life, The Coronation, a work that included hundreds of historical figures that cost him a lot of effort and was the finest work of his later years.
"Coronation"
Davitt also created many portraits during his lifetime, and these vivid and powerful works fully reflect the vitality of his art. Madame de Celizia (1795) and Madame de La camier (1800) are among the finest works of his portraits.
When the bourbon flag replaced the tricolor flag and hung it on French soil, the elder Davit, who had agreed to execute Louis XVI, was forced to flee his hometown and live in Brussels, the capital of Belgium. Davitt, who has gone through the vicissitudes, has exhausted his creativity and can no longer paint any amazing works. He died on December 29, 1825.
Although he was related to Boucher, Davit was disgusted by the feminine and relaxed art of the elder, who was deeply favored by Madame Pompadour. Restoring the purity of art and giving painting the lofty style of ancient Rome is the realm he aspires to. Throughout his life, Davitt struggled ambitiously and energetically.
His outstanding artistic talents, supplemented by political power, made David the supreme figure in the French painting world; under his leadership, many disciples created a strong neoclassical artistic trend. But because of the inherent contradictions and weaknesses of neoclassicism, this trend gradually evolved into a conservative tendency; in the hands of most of the academic painters of later generations, the neoclassical style evolved into a tool for stereotyping and whitewashing reality, losing its original tiger vitality; and this stirring anger was a permanent purpose in Davitt's Oath of the Three Brothers of Horace.
The Oath of the Three Brothers of Horace
Disputes arose between the ancient city of Rome and the city of Albert, which led to a conflict. In order to reduce the sacrifices, the two sides agreed to send three warriors each for a duel, and their victory or defeat would determine the victory or defeat of the two cities. On the Roma side, the three Brothers of Horace were played, while Albert City was met by the three Brothers of Curias.
In a desperate struggle, two warriors from the city of Rome were killed. In this situation, one of the three remaining brothers of Horace fled in disguise, killing the three brothers of Curias and winning the battle for the city of Rome. Afterwards, in an atmosphere of jubilation of victory, the Horaces, seeing one of his sisters, Camille, weeping and complaining about her dead lover (one of the three Curias brothers was her fiancé), killed her in anger, and declared that "all Roman women who weep for the enemies of Rome should be executed in this way...".
This story, recorded in the History of Rome by Pete-Levy, was written into the famous drama Horace in 1640 by the French classical tragedian Gauneil with a sonorous and majestic verse. Davitt's Oath of the Three Brothers of Horace is based primarily on this literary work.
Proceeding from the characteristics of the art of painting, Davit chose the moment when the main theme of the story could be clearly and forcefully explained and the causes and consequences were connected—the moving scene of the three Horace brothers solemnly swearing in the face of their father to be loyal to the country.
The composition of "The Oath of the Three Brothers of Horace" is quite well handled, and the sword raised high by the elder Horace is located in the center of the picture, which becomes the most eye-catching focus. The line of sight slid from the sword to the outstretched arm of the three brothers, and then to the majestic posture of them striding forward and standing firmly, these powerful rhythms composed of straight lines suddenly knocked the resolute heroic tune into the atrium of the viewer.
The background is simply and concisely carved, and the simple and majestic interior of The Roman architecture is like a resounding rhyme repeated in the poem, setting off the noble spirit of the ancient figures; the stout columns seem to be the embodiment of their indestructible will, and we seem to hear the tragic vows that echo in the depths of the hall. Behind the imposing figure of the agitated and solemn old Horace, the women sat there feebly. Their sad expressions and weak postures also played an effect of highlighting the heroism of the Horace father and son. In addition, it also makes the composition appear rich and varied, increasing the sense of balance of the picture.
Compared with the fleshless and boneless image of the Rococo painter, Davitt's characters are particularly solid and powerful. Having studied the most beautiful statues of antiquity in great depth and detail, his characters, whether Horace's father and son, or their women, all have a classical simplicity and clarity.
Precise lines and powerful chiaroscuro transitions result in a sculptural sense of volume in the structured image, with little ambiguity in every detail. The colors are not rich, but they can basically harmonize with the whole of art, and adapt to the inherent tension and intensity of the work.
The Oath of the Three Brothers of Horace embodies a strict and sober consciousness, and in creating it, Davitt cut out all the cumbersome things and spoke of the sublime in a sublime language.
The painting was painted at the request of the court of Louis XVI. It was first exhibited in Rome after its completion in 1784 and was immediately warmly welcomed. The following year, the Oath of the Three Brothers of Horace was transported back to Paris, and people were immediately excited when they saw this work hanging in the salon hall.
The whole of Paris was sensationalized, and many people tasted an unusual breath from the picture and felt their blood boiling. For the French at the time, it was a call to the storm of revolution, and the majestic oath became, in the imagination, the slogan of "unfree, rather than death" that was about to resound in the French skies. This is something that Louis XVI did not expect.
In the history of art, such as "The Oath of the Three Brothers of Horace", it directly plays a role in calling for revolution, and works that are quite successful in art are indeed rare.