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He had a large Napoleonic collection and reportedly, on visiting the Louvre with Paul Delaroche in 1848, he commented on the implausibility and theatricality of David's painting Napoleon Crossing the Alps.
Notable students of the college include the encyclopedist Jean le Rond d'Alembert (1717–1783), the painter Jacques-Louis David (1748–1825), the critic Julien Louis Geoffroy (1743–1814) and the chemist Antoine-Laurent Lavoisier (1743–1794).
The album cover is a cropped version of the Jacques-Louis David painting, The Death of Marat, which documents the death of French revolutionary leader Jean-Paul Marat.
The gallery exhibited originals and copies of works by European masters such as Titian, Rembrandt, Watteau, and David, and a few American artists, such as Thomas Sully, Gilbert Stuart, Samuel F.B. Morse, Rembrandt Peale, and William Dunlap.
He studied painting at Paris under Jean-Baptiste Regnault, Jacques-Louis David, and Antoine-Jean, Baron Gros, and later went to Rome, where he improved his French classical style of painting by the study of Italian art.
In painting can be quoted the Oath of the Horatii by Jacques-Louis David, Héro et Léandre by Pierre-Claude-François Delorme or the Triumph of Galatea by Rafael.
A student of David, he won the Prix de Rome in 1793 with "Brutus, killed in battle, is brought back to Rome", and in 1798 with a painting on the theme of "Battle of the Horatii and the Curiatii".
First studying under Vincent then David, he finally left David's studio to join the army at the outbreak of the French Revolutionary Wars, fighting in Italy and Egypt.
At the age of twenty he went to Paris, where he studied under Jacques-Louis David and Jean-Jacques Karpff, but at the end of seven years he returned to his native city.
He won a prize, which allowed him to be awarded a scholarship in Paris where he worked in the studio of Jacques-Louis David, where he produced his notable Cincinnatus leaving the plow to make laws to Rome.
Wiley's Napoleon Leading the Army over the Alps (2005) is based on Napoleon Crossing the Alps (1800) by Jacques-Louis David, often regarded as a "masterpiece", now restaged by Wiley with an African rider wearing modern army fatigues and a bandanna.
In 1789, at the dawn of the French Revolution, master painter Jacques-Louis David publicly exhibited his politically charged masterwork, The Lictors Bring to Brutus the Bodies of His Sons, to great controversy.
The Guardian critic Jonathan Jones described the effect as "Andy Warhol meets Jacques-Louis David".
In the David painting of The Coronation of Napoleon, the tiara is held next to him by one of his aides; the emeralds are not in the painting.
Cartellier's statue, modeled from Josephine's kneeling image in the painting of the coronation of Napoléon Bonaparte by Jacques-Louis David, can be seen at the Church of Saint-Pierre-Saint-Paul in Rueil-Malmaison.
Furthermore, he is an expert on and biographer of French painter François-Jean Garneray (1755–1837), one of Jacques-Louis David’s first students.
Raphael's Sposalizio (the Marriage of the Virgin) was the key painting of the early collection, and the Academy increased its cultural scope by taking on associates across the First French Empire: David, Pietro Benvenuti, Vincenzo Camuccini, Canova, Thorvaldsen and the archaeologist Ennio Quirino Visconti.
The Portrait of Count Stanislas Potocki is a 1780 equestrian portrait of the Polish patron, politician and writer Stanisław Kostka Potocki by the French painter Jacques-Louis David.
Jacques-Louis David started work on 21 December 1805 in the former chapel of the College of Cluny, near the Sorbonne, which served as a workshop.
However, it has become somewhat controversial, both for its unabashedly academic style, inspired both by Jacques-Louis David and William Bouguereau, and for its highly symbolic content, said to express the cycle of denial and tragedy.