The Oath Of The Horatii By Jacques Louis David

As stated in Oxford Art Online (2007), Jacques-Louis David 's Oath of the Horatii painting reiterated the enlightened “ideas of ... human rights, ... and moral rectitude” (par. 2). The concept of country first then family, connected the necessary priority for the French people; some families will suffer lost that others might be free. During a period when France became bankrupt, the narcissistic, luxurious lifestyles of the aristocracy emboldened the “heroism of sacrifice” (Harris and Zucker, 2016, trx.). The painting focused on the principle of dying for one 's country for freedom; which directly connected to the agitations for

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The Swing is a typical Rococo painting with loose brushwork, soft colors and an amorphous organic composition which celebrates the beauty of love and sophistication of the ruling class while, The Oath of the Horatii displays war and anger and eschews the Rococo style with its geometric organization and its strong impression of

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

Within the painting are six individuals. In the middle is Madonna and Child. To the left is Saint Francis and John the Baptist, and to the right; Saint Zanobius, the Florence Patron, and Saint Lucy. These individuals are equally placed in the foreground of the painting, bringing our attention right to them, however there is a group of two that is the most important. If you look at the gestures of

The painting pictures a white house with a road in front of it, and more than halfway down the road is two figures and they appear to be black. They are cradled together to signify unity and that they are going to do this together. I believe that is one of the messages that this painting is trying to tell its audience is that you can’t do this on your own you have to do it with somebody. The black figures appear to be looking down at each other as if to confirm that this is the right decision because there is no going

In the case of the second painting, the femininity of the Bride of Giovanni Arnolfini is one of the central themes of the painting. The core compositional element of Oath of the Horatii is the triangle, which involves the with the brothers on the left side, the female to the right. The central position is occupied by Horatius. The apex is formed by the up-raised swords in the hands of Horatius. One more triangle is formed by the exaggerated posture of Horatius and the brothers, who hold the spear. This triangle is located left of center and it is inverted. While looking at the picture, these two compositions (triangular ones) attract the major attention. In addition, it is possible to notice the contradicting horizontal lines on the foreground marble floor and the strong vertical lines, created by the Doric columns and the curvilinear archways, which are located at the background part (Gutwirth

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

21.1 Jacques-Louis David. The Oath of the Horatii. 1784. 21.8 Eugene Delacroix. The Death of Sardanapalus. 1827.

The Oath of Supremacy was needed for anyone taking a position in public or church office in England. I do support my queen, but I will not swear to the Oath of Supremacy because I do not believe that the monarch is the only Supreme Governor of the Church of England. If you did not swear allegiance to the monarch, then you would be considered a treason. In the oath, it says, “I shall bare faith and true allegiance to the king.” It also says “My power shall assist and defend all jurisdiction, priviledges, preheminences, and authorities belonging to the king.” This would mean that I think the king is the true ruler and no one can top him.

All of the men who are pictured in the painting are dressed in elaborate non-Western clothing, the greatest indication that the painting is resembling a scene from a different lifestyle and world. The figure to the front and left has his back facing towards the viewer, focusing intently on the game of chess that is taking place. His elbow juts out at the viewer indicated by Gérôme’s use of a brighter and lighter color to indicate a different plane of space being occupied. His white turban and white skirt are used to pull the viewers gaze in as both pieces of clothing are two of the brightest elements in the painting.

The first painting, “Intervention of the Sabine Women” by Jacques-Louis David, depicts a sort of panoramic view of a battlefield between some soldiers that appear to be wearing helmets and gear reminiscent of the Spartans and/or romans. All of the figures are naked and they are fighting and they all appear to be very closely bunched up. Among the soldiers are a few clothed women and some children that appear to be going about themselves amongst the chaos, with the exception of a few characters that appear to be affected by the chaos. There are a few women at the center with some children that appear to be attempting to break up the battle. Based on the style and details of the painting, it most likely represents the era of ancient Rome and

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this

Oath of the Horatii is life size oil on canvas painting that is about thirteen feet wide by