Jean-Baptiste DEBRET. 1768-1848. Painter, student of David.
Important study of the young Debret, student of David, during his stay in Rome in 1784-1785.
Hand study after the living model for the Oath of the Horatii by Jacques-Louis David.
About 1784-1785
Sanguine, signed lower right Debret, inventory number upper right “D6.44”
Dimensions : 57,8 x 42,7 cm
At the origins of Debret's trip to Rome
David's success at the Salon of 1781 with the painting of Bélisaire asking for alms, attracted the attention of the Count of Angiviller, Director of the King's Buildings, who decided to grant the painter, former Prix de Rome, a royal command. The subject not being settled, the artist then meditated on the composition of a painting inspired by the Roman story of Horaces reported by Livy (Roman History) and from which Corneille took a famous tragedy (Horace). For almost three years, David considered several frameworks, and reflected in particular on the episode of old Horace defending his son. He will finally stop on the warlike figure of the three warriors before the fight, imagining a scene which does not appear in ancient literature, the oath of Horace. Inspired by Roman History written by Rollin, the oath takes place in the 7th century BC; in order to stop the bloody clashes between Rome and Alba, each city decides to designate its champions: the first chooses the Horatii, the second the Curiatii. Only one Horace returned, giving victory to Rome. He subsequently tarnished his triumph with the murder of his sister Camille, fiancée of one of the Curiatii. Condemned, he was acquitted by the people for the bravery he had shown in combat. If the story does not lack opportunities for the representation of dramatic power, it is the imagined moment of the oath that David chooses to bring the scene to the paroxysm of pathos. Having developed several studies, David decided to create his masterpiece in Rome, in the Palazzo Costanzi, a trip he was able to afford thanks to the financial support of his father-in-law.
David, who is already at the head of a school, wants to be accompanied by three of his most brilliant students, Jean-Germain Drouais (1763-1788) who has just passed the Prix de Rome competition, Jean-Baptiste Wicar ( 1762-1834) and Jean-Baptiste Debret (1768-1848).
David's first sketch for the Oath of the Horatius Musée des Beaux-Arts de Lille, INV pl.1194 - Collection Old Wicar, who participated in the trip to Rome
There are several variations with the final painting, notably in the composition of the hands
Jean-Baptiste Debret, student of David
Although Debret contributed throughout his life to maintaining a truly golden legend around David, he left us very little biographical information on his own artistic career and in particular on his beginnings with the great painter. Son of a clerk at the Parliament of Paris, he seems to have studied at the Clermont college (future Louis-le-Grand high school) before entering David's workshop. It was most certainly because of his great qualities as a designer, as was Wicar, that he had the great favor of accompanying his master to Rome; there he witnessed the work and progress of the Oath of the Horatii, while following David's teaching and advice to admire the artistic riches of Italy. In 1791, he won the second Prix de Rome with the painting Regulus Returning from Carthage. He escaped conscription in 1792 and entered as a supernumerary at the School of Bridges and Roads in 1793, then as a draftsman at the Central School of Public Works (future polytechnic school), replacing the painter Gérard as instructor. His links with his former master, who became an important figure in the Revolution, were certainly maintained since Debret married in 1794 Elisabeth-Sophie Desmaisons (1775-1848) from a large family of architects, but above all David's cousin. He soon returned to his artistic activities since he exhibited regularly at the Salons in 1799, then from 1804. Under the Empire, Debret was appreciated for his compositions to the glory of Napoleon, and where we note the Davidian influence , notably with his large canvas First distribution of the crosses of the Legion of Honor. Under the Restoration, he participated in an important mission to Brazil where he became the official painter of the Court. Returning to France in 1836, Debret is known for organizing a banquet every year commemorating the memory of David, notably by publishing an unpublished drawing by the great painter.
The Oath of the Horatii
Even before his departure for Rome, in September 1784, David had set the framework for his work. Contrary to tradition which illustrated the bloody scenes of the battle of Horatii or the murder of Camille, David had chosen to show the taking of the oath of the three brothers in front of their father, swearing to fight until the death for the salvation of Rome, in a prefiguration of the civic oath. The ternary scene (the three arcades, the three brothers and the three swords, and succession of triangular lines including the placement of the legs of the different actors) takes place in the flagstone interior courtyard of a patrician residence. The dark background opposes the lateral light which faces the father of Horaces, while in a refined perspective, all the lines of flight converge towards the hand of the father, clenched on the swords, the node of the composition which symbolizes the interests superiors of the city.
Thanks to Debret's memories, the historian Péron will detail the progress of the Oath of the Horatii: Arriving in Rome, David immediately set to work, associating Drouais with his work. His first care was to model all his draperies with the particular taste which he possessed to such a high degree. Drouais drew them on paper to be later transferred to canvas. Then David sketched out his entire picture. The sketch made, he began the figure of the eldest Horace, which he painted entirely, as finished, as accomplished as we see it today. This single figure already appeared so beautiful that the noise transpiring outside, David was obliged to yield to public curiosity, by allowing it to enter his studio in advance. The entire painting was finished in eleven months (…).
The young Debret will make no mention of his possible help, or of his contribution in establishing the sketches. However, at the moment when David realizes what he wishes to be an example of patriotism and stoicism, the student certainly understands the importance of the tension of the contracted, outstretched arms, projecting the deadly but oh so salutary swords for the Romans. Debret thus poses as a virtuoso designer, master of line and lighting effects, giving his composition a dazzling visual power. We can observe through this masterful composition of hands and swords, the finesse of the detail but also the sensitivity of the skin and the palpable flesh which emerges under the lines of the hands.
David, Studies for the Oath of Horatii
Bonnat Museum of Bayonne, AI 1888 N1.511, & AI 1889 N1.512
David sale of April 17, 1826, coll. Léon Bonnat.
Provenance probable
- Workshop of Jean-Baptiste Debret, inherited by his brother François Debret (1777-1850), architect then by descent to the Félix Duban family
(1797-1870), architect and collaborator of François.
Related works
- Couple David
- Two sword studies. 1784. Drawing (David album f°41), 18.9 x 13.3 cm. Louvre Museum, Department of Graphic Arts, coll. Ms. Normand. Study forming part of the research for The Oath of the Horatii.
- The Oath of the Horatii. 1782?. Signed drawing, 22.9 x 33.3 cm. Museum of Fine Arts of Lille, INV pl.1194, former collection. Wicar.
- Study for the Oath of the Horatii. 1784. Drawing, 19.9 x 26.8 cm. Ecole des Beaux-Arts de Paris, INV 733, David sale of April 17, 1826, coll. by the painter Granger. First thought of the Horaces painting.
- Study for the Oath of the Horatii. End of 1784. Drawing, 26 x 35.5 cm. Louvre Museum, Department of Graphic Arts, RF 29914, David sale of April 17, 1826, coll. Mrs. Kraemer.
- Study for old Horace. 1785. Drawing, 57.8 x 36 cm. Bonnat Museum of Bayonne, AI 1888 N1.511, David sale of April 17, 1826, coll. Léon Bonnat.
- Study for the group of three Horaces. 1785. Drawing, 58 x 44.8 cm. Bonnat Museum of Bayonne, AI 1889 N1.512, David sale of April 17, 1826, coll.
Léon Bonnat.
- The Oath of the Horatii. 1785. Sketch, oil on canvas, 26.5 x 37.5 cm. Louvre Museum, Louvre Museum, RF 47.
- The Oath of the Horatii. 1784 (1785). Oil on canvas, 3.3 x 4.25 m. Louvre Museum, INV 3692. Work from the Salon of 1785, coll. Louis XVI.
- By his students
- Ingres. The Oath of the Horatii, according to David. Circa 1797-1801. Drawing. Louvre Museum, Department of Graphic Arts, RF 5272, coll. Baron Vitta.
Bibliography
- Alexandre Péron, Historical notice on the painting of the Oath of the Horatii. In Journal des Artistes, n°19, November 1839, pp. 289-299.
- Delecluze, Louis David, his school and his time, 1855.
- Jules David, The painter Louis David, memories and unpublished documents, Paris, V. Havard, 1880.
- Philippe Bordes, art. Lost drawings by David, including one for “The Death of Socrates”, lithographed by Debret, in Bulletin of the Society of the History of French Art, year 1979, 1981.
- Pierre Rosenberg and Louis Antoine Prat, Jacques-Louis David, 1748-1825. Catalog raisonné of drawings, Milan, Leonardo Arte, 2002.