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Art historians have sometimes seen the painting's treatment of Venus and Mars as a broader commentary on gender, showing femininity ultimately conquering masculinity. Venus, goddess of love, is here equated with femininity, emotionality, and pleasure. Mars, god of war, stands for the masculine ideals
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The painting initially received little commentary from critics, perhaps owing to the artist's position in political exile. Critics who discussed the work focused on the technical aspects of the painting, saying less about its political significance. Critics were especially cautious about discussing
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and completed it three years later, before dying in an accident in 1825. The work combines idealization with elements of realism. Specifically, David integrated the idealized forms of mythological painting with a realist attention to detail. This combination of two seemingly incompatible principles
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The painting is notable for not having a distinct artistic style, with David borrowing from divergent aesthetic traditions. David's themes go beyond the stylistic opposition of idealism versus realism, reflecting more broadly on the conflict between the
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The painting has sometimes been seen as a reinvention of the traditions that defined mythological painting. David departs from convention in depicting mythological figures with comparatively little idealization. David had pursued similar aims in
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of strength and determination. The triumph of Venus, according to this interpretation, shows the capacity of emotions and pleasure to overcome strength and determination. David had previously explored related themes in early works such as
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In terms of technique, the painting can be described as combining idealism and realism, but art historians have sometimes seen this stylistic opposition as related to themes of gender and politics. David here departed from
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Jacques-Louis David, Cupid and Psyche. While mythological in subject, the painting incorporates realism in its representation of figures.
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nonetheless has idealized elements, including the exaggerated poses of the subjects, especially in the three Graces behind Venus and Mars.
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represents a return to form for David, departing from the emphasis on masculine heroism that had defined mid-career works such as the
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The three soldiers are meant to embody masculine virtues with their determination and willingness to fight for a greater cause.
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also plays an important role in the themes of the painting, most notably in its treatment of masculinity and femininity.
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the artist's exiled status, though their reticence around the subject may have called more attention to it.
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At over 3 m (10 ft) high, it is an imposing work. Set before a temple floating in the clouds,
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308 cm Ă— 265 cm (121 in Ă— 104 in)
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Most of David's models for the painting were figures involved in the
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David sent the painting from
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Saint Roch
Interceding with the Virgin for the Plague-Stricken
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439:"Necklines: The Art of Jacques-Louis David After the Terror"
523:"Last Words: David's Mars Disarmed by Venus and the Graces"
426:. London, England: Yale University Press. pp. 319–320.
411:. United Kingdom: Yale University Press. pp. 188–189.
268:" and "a present which was more than a stake in realism.”
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An example of the feminine triumphing over the masculine.
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Erasistratus
Discovering the Cause of Antiochus' Disease
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Saint Jerome Hears the
Trumpet of the Last Judgment
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189:is the last painting produced by the French artist
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754:The Lictors Bring to Brutus the Bodies of His Sons
738:Portrait of Antoine-Laurent Lavoisier and his Wife
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922:Portrait of comte Antoine Français de Nantes
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109:Learn how and when to remove this message
786:Portrait of Madame Marie-Louise Trudaine
388:List of paintings by Jacques-Louis David
954:The Farewell of Telemachus and Eucharis
914:The Distribution of the Eagle Standards
778:Portrait of Philippe-Laurent de Joubert
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802:The Last Moments of Michel Lepeletier
437:Lebensztejn, Jean-Claude (Mar 2001).
211:Royal Museums of Fine Arts of Belgium
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850:The Intervention of the Sabine Women
422:Harkett, Daniel (October 23, 2007).
409:Jacques-Louis David: Empire to Exile
47:adding citations to reliable sources
674:Portrait of Count Stanislas Potocki
244:: Venus was modeled by the actress
988:Marguerite Charlotte PĂ©coul (wife)
874:Napoleon at the Saint-Bernard Pass
529:(23) – via Researchgate.net.
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291:The Combat of Mars and Minerva.
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16:Painting by Jacques-Louis David
650:The Funeral Games of Patroclus
484:Lee, Simon (October 4, 2022).
58:"Mars Being Disarmed by Venus"
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1053:Paintings of Mars (mythology)
970:Mars Being Disarmed by Venus
890:Napoleon in Imperial Costume
746:The Loves of Paris and Helen
544:Musee royaux catalogue entry
355:Mars Being Disarmed by Venus
318:Mars Being Disarmed by Venus
186:Mars Being Disarmed by Venus
124:Mars Being Disarmed by Venus
858:Portrait of Madame RĂ©camier
834:Portrait of Pierre Seriziat
762:Portrait of Madame Pastoret
682:Belisarius Begging for Alms
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898:The Coronation of Napoleon
866:Portrait of Cooper Penrose
706:Portrait of Alphonse Leroy
698:Andromache Mourning Hector
602:Portrait of François Buron
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407:Bordes, Philippe (2005).
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342:Reinvention of mythology
306:Antiochus and Stratonica
262:Ancients and the Moderns
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810:The Death of Young Bara
350:Love and Psyche (David)
1038:Neoclassical paintings
486:"David, Jacques-Louis"
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930:Napoleon in His Study
818:The Tennis Court Oath
730:The Death of Socrates
618:Minerva Fighting Mars
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298:Power of the feminine
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690:Christ on the Cross
634:The Death of Seneca
610:Jupiter and Antiope
580:Jacques-Louis David
323:Oath of the Horatii
191:Jacques-Louis David
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164:Dimensions
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382:See also
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