Mars Disarmed by Venus and the Three Graces: Jaques Louis-David's Final Painting
| Title: | Mars Disarmed by Venus and the Three Graces 1824 |
| Painted by: | Jacques Louis David (1748-1825) |
| Location: | Musées Royaux Des Beaux-Arts, Brussels, Belgium |
| Year: | 1824 |
| Dimensions: | 8.5x10 feet |
The image above is of french artist, Jaques Louis-David's, final masterpiece. He started to paint it in 1822 after becoming severly ill. Three years later, one year after the painting was finished, David was hit by an oncoming carraige on his way out of the theatre. Throught his life and the political ups and downs of France, David has painted heroic scenes of Greek and Roman figures triumphing over their foes. This painting, however, depicts a situation opposite to David's previous work.
The painting depicts Mars (the Roman God of war) being charmed by Venus (the Roman Goddess of beauty and love) and the Three Graces. Cupid is at the bottom of the picture, untying the sandal on Mars' foot, his golden arrow placed beside him. However, hesitation is shown in the image of Venus pausing before placing the crown of thorns on Mars' head. In many of Davids previous paintings, such as the Oath of the Horattii, the characters are in tense in stiff positions, to show strenght and make them look statuesque. However, in Mars Disarmed by Venus and the Three Graces, Mars holds a relaxed position, which shows comfort and not strength.
Once the Bourbons had returned to power in 1814, David was in danger because of his previous pro-revolutionary attitude, pro-Napoleon views, vote for the execution of Louis XVI and the death of Louis XVII. However, Louis XVIII did not hold a grudge against David, but in fact offered him a job as the official court painter. David declined due to the fact that he would rather declare self exile in Brussels than work for the King.
One thing for sure is that David was positive when he made the concious decision that this would be his final painting. Before applying brush to canvas, it is reported that David stated "This is the last picture I want to paint, but I want to surpass myself in it. I will put the date of my seventy-five years on it and afterwards I will never again pick up my brush." Some believe that David chose this painting as a refection on his having been "seduced by false idols". Or perhaps the painting could represent David's views of France itself transforming from a strong and powerful nation to a state of weakness and naiviity. Maybe the painting was not even inteded to be political but soley about the myth it is centered around as David's effort to swing back to his interest in the ancient world. How do you interperet the painting in accordance with Jaques Louis-David's life? Comment and tell me! I'm curious to know what you all think!
-Celine (CHS Student)
Bibliography
"Mars Disarmed by Venus and the Three Graces 1824." Jacques Louis David. N.p., n.d. Web. 16 Sept. 2012. http://www.jacqueslouisdavid.org/Mars-Disarmed-by-Venus-and-the-Three-Graces-1824.html.
"Jacques Louis David Biography." Jacques Louis David Biography. N.p., n.d. Web. 16 Sept.
"Jacques-Louis David: The Roman Revolution." Jacques-Louis David: The Roman Revolution. N.p., n.d. Web. 16 Sept. 2012. <http://www.ancientworlds.net/aw/Article/256513>.
"Web Gallery of Art, Image Collection, Virtual Museum, Searchable Database of European Fine Arts (1000-1850)." Web Gallery of Art, Image Collection, Virtual Museum, Searchable Database of European Fine Arts (1000-1850). N.p., n.d. Web. 16 Sept. 2012. <http://www.wga.hu/frames-e.html?/html/d/david_j/5/505david.html>.
The figure on the extreme right has a highly suggestive and ambiguous expression - how you interpret that would be key to how you interpret the painting.
ReplyDeleteGreat post, thanks Celine!
ReplyDeleteI haven't seen this painting before. When I was putting the four David paintings into the reader, I noticed an interesting progression (we've touched on it in class too), and this piece would be a perfect fifth piece to end it. Shortly before the Revolution he painted the Oath of the Horacii (1786), which is pretty bloodthirsty in its implications. Then there's the Marat (1793), who he still portrays as a Martyr and great man, with more humanity than most of his subjects (as Gautier points out in the reader). But by the time of 'The Death of Socrates' (1787) he's making a painting about the Heroism of somebody standing up against the State, defying execution--was he finally having second thoughts about the Guillotine?; and in 'The Sabine Women' (1799) he's making paintings about people STOPPING bloodshed, overcoming differences. This painting, with Love tempering war and anger, seems like it could represent the final pat of that development. But as you say, it could equally be interpreted otherwise...
Relating to John's observation--I notice that the far-right figure is in the same position as the lirrle pucci/Cupid putting on Mars' shoes for him; and both are looking directly at us. Very enigmatic indeed, I don't know what to make of it... other thoughts on what's going through these demigods' heads?
Hi Celine, this is pure speculation on my part, but a work depicting someone being "disarmed by grace" might not have entirely negative connotations. It seems like he chose its importance very definitively, saying he'd never paint another one- I wonder if he planned to just stop painting after that, or if he knew he was going to die? Did he expect to die of his natural illnesses, or did he foresee or plan his exit from the world by other means? If he knew he might not have much time left, he might have wanted to use it to distance himself from the wars that had defined his life, or from his role in the Reign of Terror?
ReplyDeleteI see it almost as Mars re-emerging from the heavy machinery of war, calmly taking in the unexpected return of these other, forgotten energies that seem more merciful- So he's kinda looking at Venus, but he's also got a bit of the thousand-yard stare thing going on, does anyone else think so?
Venus looks a bit hesitant, and maybe also a bit imploring- mouth slightly open in speech? Maybe having to convince him to go along with this? Like Venus, the middle Grace also looks and leans towards Mars with an offering- smiling but looking somewhat tired, maybe exasperated- like you would when finally making peace with someone who'd been silly and difficult to reason with. Like, "Come on, just take the wine and be done with this."
The Grace walking off into the mist- with the helmet Mars has traded for the flowers- also looks back, but cautiously, to make sure she won't be stopped? To make sure he'll accept the trade that Venus is negotiating, and won't try to take the helmet back, I think, is the main thing. Maybe the main gist of the whole painting- that exchange of one for the other.
The last Grace, and Cupid, are then looking directly at us- intently, with the look of happy, victorious conspirators- as they take away his other war-things. I almost feel that even the way the clouds were painted were meant to depict long-built tension finally breaking.
I really appreciate your interpretation of this piece. I could definatley see that it would be about David choosing to take a break from his job as a political painter. Thank you so much for responding with such an insightful and well thought out interpretation! :)
DeleteAs a short interpretation I see Mars giving himself or devoting himself to peace. He is handing his sword away over the shoulder of Venus for on of Venuses Graces to take, while they are already taking his shield and helmet. On of the graces is pouring wine to offer to Mars in a celebratory type of offering. Even cupid it taking off his sandals as to say relax and sit down for a while. Venus is then crowning Mars with flowers which shows maybe a peace offering, or signifies Mars changing his ways from war, and becoming less war crazed. Which in my mind signified Davis putting down his paint brush and converting to peace as this was his final painting. So he was taking a break from political paintings, especially the infamous "Death of Marat."
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