The Oath of the Horatii

Jacques Louis David (France; 1748 –1825)
The Oath of the Horatii (c.1785)
The Louvre (Paris, France)

Accompanying Song: Symphony No. 25 in G Minor by Mozart










The maneuvering of such a grand revolutionary scheme as France's lies greatly in debt to painter Jacques Louis David. David was a member of the Intelligencia, or the intellectuals, and received his art training from the prestigious Royal Academy. However, as he grew older, so did his distaste for the gluttonous and power-hogging nobility and monarchy. In 1785, David paints The Oath of the Horatii, a piece of work that seemed to be riddled with artistic flaws. David's compositional and technical inaccuracy was way out of line according to the highly praised artistic hierarchy of the time. However, to the Intelligencia, these subtle "mistakes" clearly read as a rejection to the French Academy's standards. Techniques praised by the Royal Academy were reserved for only the females in the painting, hinting that the weak and powerless characteristics of the women reflected onto the nobility and royalty. On the other hand, David rejects these techniques for the strong warriors, communicating that strength lies with the Intelligencia and working classes. Similar paintings by David were posted in the Louvre where other members of the Intelligencia could pick up on the message and unite against the nobility and monarchy. This slight but clever method of communication proves art's prowess in turning the wheels of change.

The Army of Jugs

Jacques Louis David (France; 1748 –1825)
The Army of Jugs (c. 1793)
Bibliotheque Nationale de France (Paris, France)

Accompanying Song: Le Chant Du Dpart 1794









David switches to a different style in the creation of The Army of Jugs, a popular poster filled with bawdy and crass humor. There are no hidden concepts or subtleties like in David's Oath of the Horatii. The caricatures of the soldiers have jug bodies, a play on the French word for jug which is also slang for "idiot". The king's men are depicted as fools who are defecated on by the working class. Furthermore, there is an explanation at the bottom that leaves no chance for misinterpretation. This poster is easily replicated and, indeed, was copied and posted around France's pubs where the working class could see them. This method easily communicated to the masses that the monarchy was impotent and the time to rebel was nearing. David craftily uses art as a tool to reach the masses quickly and efficiently and unite them for a massive revolutionary effort.