Analysis Of Oath Of The Horatii By Jacques-Louis David

Art allows us to communicate more than just mere logic; it allows us to move people emotionally, and influence change throughout the world. Jacques-Louis David was a 19th century painter who is considered to be the father of neoclassicism, the movement of art away from the old rococo style. David was a strong supporter of the French Revolution, and a close friend to Maximilien Robespierre, the leader of the Jacobins, a revolutionary group, of which he too was a member. The French Revolution was the overthrowing of the absolute monarchy led by King Louis XVI from the years 1789 to 1799. The revolution came to an end in late 1799, when Napoleon Bonaparte took power. Jacques-Louis David used his artwork as political propaganda, to reflect the

three main ideals prevalent in the French Revolution: the fight for equality, regardless of estate; the ideal of fraternity and togetherness; and the intense need for liberty and freedom from an unjust authority. Jacques-Louis David utilized his artwork to support the ideal of equality for everyone, regardless of estate, which was a prevalent ideal throughout the French Revolution. In 1791, David sketched Le Serment du Jeu de Paume, known in English as The Tennis Court Oath, in Louvre, Paris. Similar to many of David’s pieces, The Tennis Court Oath is a depiction of a historical moment in France’s history. The unfair social structure of the Ancien Régime led to the third estate declaring themselves as the National Assembly in favour of a meritocracy on June 17th, 1789. Three days later, on June 20th, King Louis XVI retaliated by locking them out of their usual meeting hall at Versailles. The National Assembly then moved to an indoor tennis court, where they all swore they would not stop meeting until France had a written constitution. In this sketch there are three men standing in the front embracing. Each man represents their own estate: the clergy, the nobility, and the bourgeoisie. The coming together of the three estates represents the fight for equality finally beginning. The three estates are standing on equal footing in front of the National Assembly; no one is superior or inferior. Throughout the rule of previous monarchs the first two estates were seen as superior. However, under the eyes of the newly established government, the constitution reflects the needs and desires of every estate, not just the clergy and nobility. Thus, the fight for equality that the bourgeoisie wanted had finally begun; David’s sketch became a spark that allowed for the citizens of France to come together and fight for equality under the rule of an unjust monarch. Historian, Stefan Jonsson, an author of many revolutionary art books, has a similar interpretation of this historical piece. “Jacques-Louis David recognised the gravity of the moment and the enthusiasm it released. The delegates are possessed by a common mission, which consists in preserving their newly won unity. The oath sworn in the tennis court outside the royal palace in Versailles… marks the beginning of the French Revolution. Language is at a loss as one tries to capture David’s visualisation of a unity manifesting itself as quantity.” Jonsson’s analysis, “preserving their newly won unity,” illustrates the new found equality between the three estates under the eyes of the National Assembly. When Jonsson states, “the oath...marks the beginning of the French Revolution,” it is understood that the only way the Revolution could begin and prosper was if the ideal of equality was addressed; which can be seen in this sketch. Finally, the usage of the phrase, “a unity manifesting itself as quantity,” explains that the fight for equality for each estate had sprung from only the representatives fighting, to the entire 95% bourgeoisie population fighting for equal treatment. Therefore, it is abundantly clear through the foregoing interpretations that the ideal of equality, which was prominent throughout the French Revolution, is promoted in David’s Tennis Court Oath, which emphasizes the equal treatment of each estate. Along with the ideal of equality, David also represents the theme of fraternity through his artwork. The paintings of Jacques-Louis David illustrate the political and historical theme of fraternity and togetherness, a key ideal in the French Revolution. In 1784, Louvre, Paris, David painted Le Serment des Horaces, known in English as Oath of the Horatii.

This historical piece depicts a Roman legend of 7th century BC, in which there was a battle between the Romans and a nearby town of Alba. Instead of a full-scale war, the three Horatii brothers were chosen by the Romans to defeat the trio of brothers chosen by Alba, the Curiatii. The three brothers, all willing to sacrifice themselves for Rome, swore upon the swords presented by their father, and proclaimed they would not come back until they defeat the Curiatii, and restore the happiness of Rome. In this painting, David used the three brothers to represent the three estates of the Ancien Régime. The Oath of the Horatii is a direct parallel to when the National Assembly took the tennis court oath. Before the meeting of the Estates-General, and eventual declaration of the National Assembly in 1789, the estates were not fighting for France as a whole, instead they were fighting individually for the prosperity of their estate alone. During the oath, the estates had finally come together and decided to represent France as a unity, rather than a separated nation. In Oath of the Horatii, the sons coming together showcases that they too will fight for Rome as a unity, similar to the way the three estates

came together and fought for France. The father in this painting represents the new government and constitution established by the National Assembly; therefore, the three states are coming together under the guidance and direction of the government. Thus, David used this painting to illustrate the ideal of fraternity finally being fulfilled, and as a means of inspiration for the citizens of France to come together. Thomas Crow, an American art historian, has an interesting political interpretation of Oath of the Horatii. Crow's analysis is as follows: "the body politics appears in the form of the sons, its chosen representatives; they stand on equal footing with the father... and receive from him in a charged and ecstatic exchange the instruments of power." It is evident when Crow states, “the body politics appears in the forms of the sons,” that the three brothers are representatives from the three estates of the Ancien Régime. Furthermore, they “stand on equal footing with the father,” proving the National Assembly and the estates are one entity, and that there are no distinctions between them. Crow’s passage, “receive... instruments of power,” illustrates that the coming together of the three estates symbolized power the National Assembly would use for change against the unjust Ancien Régime. Therefore, through the preceding interpretations it is clearly seen that Oath of the Horatii embodies the key ideal of fraternity and togetherness, through the representation of the three estates coming together under the direction of the National Assembly in the French Revolution. In addition to fraternity, Jacques-Louis David represents the constant need for liberty through his artwork. Jacques-Louis David used his artwork to stir up an intense desire for liberty in the people of France, which was representative of the fight for freedom against an unjust authority throughout the French Revolution. In 1789, Louvre, Paris, David painted La Mort de Socrate, known in English as The Death of Socrates. Like many historical paintings, David’s piece portrays the execution of Socrates, as told in Plato’s Phaedo. In Plato’s story, Socrates had been imprisoned and sentenced to death through the drinking of poison hemlock for corrupting the minds of the youth of Athens, and introducing strange Gods. Instead of sulking like the majority of men around him, Socrates appears stoic, and takes this moment as an opportunity to teach his pupils a lesson: that you must be committed to your ideals no matter what. In this painting, an elderly man is sitting at the end of the bed, facing away from Socrates. This represents those of the first and second estate, who choose to ignore the mistreatment of the bourgeoisie. Therefore, Socrates represents those who belong to the third estate. The absolute monarchy led by King Louis XVI, mistreated the working class, and favoured those of the first and second estate. In the painting, Socrates is fighting for his basic rights against an unjust authority, just like the third estate has been doing for many years. It is seen that Socrates continues to teach even while reaching for the hemlock; this demonstrates his commitment to his ideals no matter what, and his indifference to death while fighting for freedom. This painting served as a call to duty against an unjust authority, and the need for everyone regardless of estate, to fight for freedom.