Necklines: The Art of Jacques-Louis David After the Terror

Rating:
Summary: Interesting ideas, not so interesting read
Review: I have read a number of books on Jacques-Louis David and this book has some of the most unique (bizarre) ideas on David's artwork I have come across. This is not exactly a pleasurable read either. It is a very esoteric work, and unless you can buy a cheap used copy, it is not really worth the high price. If you are interested in it, I suggest checking it out at the library(it is not something you will read twice). The book does provide a good deal of insight into the culture of post-revolutionary France. It is a nice quality book (although with current printing technology all the images should be in color and the book should not be so expensive). After reading the book, I think that a lot of the interpretations of David's art do not have a strong basis and the author is stretching her imagination with what she thinks David's work reveals.

Rating:
Summary: Bizzare freudian hypothesis
Review: The great thing about art commentaries is that just about anything can be written. JL David was, of course, the Revolutionary artist supremo of his day. His arguably most famous paintings were the Oath of the Horatii, the death of Marat, the unfinished Tennis Court oath and of course the Sacre plus numerous historical paintings. What is most telling is David's role in casting the revolution in a masculine manner.
This remarkable book recasts JL David's paintings in a bold new way - he was obseesed with the naked form and really was casting the revolution in a feminine manner, and hence drew and sketched all his figures in the nude, then finishing them as clothed figures. Also, he was acting out his girlish fantasies and some of his figures have an effiminate look to them. Wow!
This line of psychoanalysis is all new to me, the fact that one can project thought patterns on a person's mind 200 years ago just by linking up some letters to some sketches and paintings. Necklines of course refers to the low cut on female clothing, especially his Grecian or Roman-clad women and the fact that David himself came very close to losing his head.
It had never occurred to the author that sketching nude figs was David's usual modus operandi in drawing, as confirmed by other art historians. And his painting of Julie Recamier? The same person was also drawn by Gerard and it looked as if two different persons were depicted. It's debatable as to whether this was a great painting. The patron rejected it anyhow.
I did enjoy the fantasy ride, though.