Original Jacques- Louis David Antique Early 19th Century French Neoclassical Fine Art Oil Painting Still Life with Smoked Herring Fish on a Table Belgium

Original, antique early 19th century still life oil painting of fish, (smoked herring), by French painter, Jacques-Louis David, (1748-1825).

Jacques-Louis David, born in Paris in 1748, was the son of a wealthy iron merchant who died in a duel when Jacques was only nine years old. Raised by his mother's family, who were architects and builders, he received a classical education. While his guardians wanted him to become an architect, Jacques insisted on studying painting. He trained under Joseph-Marie Vien, a prominent neoclassical painter, although his early works still showed a rococo influence.

After multiple unsuccessful attempts, Jacques finally won the prestigious Rome Prize in 1774, which marked a turning point in his artistic style. During his five-year stay in Rome, he immersed himself in the works of Italian Renaissance and baroque masters, purging his art of rococo elements. He also visited Naples, which further influenced his artistic transformation.

Upon returning to Paris, Jacques gained recognition for his Italian-inspired paintings exhibited at the Salon of 1781. His marriage to Charlotte Pécoul, the daughter of a royal buildings supervisor, provided financial security and influence. In 1783, he changed the subject of a royal commission painting from Horatius Defending His Son Before the People to the renowned Oath of the Horatii, which solidified his reputation as France's leading painter.

David's political involvement began during the French Revolution, where he fervently supported radical causes. He played a pivotal role in dismantling the privileges of the French Academy and was a member of the Committee of Public Instruction. As Robespierre's admirer and friend, he voted for the execution of King Louis XVI and Queen Marie Antoinette. David organized elaborate national pageants to indoctrinate the masses, designed ceremonial settings, and painted memorial portraits of Revolution "martyrs."

However, David's association with Robespierre led to his downfall after Robespierre's fall from power in 1794. David defended himself before the hostile Convention, managing to avoid execution but facing several imprisonments. Disillusioned by politics, he returned to his true passion of classical history painting during the period between Robespierre's fall and Napoleon Bonaparte's rise.

In prison, David turned to themes from antiquity, including the Sabine Women Stopping the Battle between Romans and Sabiner. He refined his classical style and also painted portraits of post-Revolutionary society figures. Impoverished, he made peace with the new order, joining the reestablished academy and transforming his studio into a renowned school that influenced European art for decades.

David's connection with Napoleon began in 1797, and when Napoleon became First Consul, David painted a portrait of him. With Napoleon's ascent to emperor, David became his First Painter, commemorating the empire's inaugural ceremonies in grand paintings. However, his demanding nature strained his relationship with Napoleon, leading to the cancellation of the project.

After Napoleon's downfall, David settled in Brussels in 1816, continuing to paint portraits but struggling with classical subjects that lacked ideological relevance. His later works, such as Cupid and Psyche, received mixed reviews. David spent his last years in Brussels, surrounded by supportive students and friends. He died in December 1825, receiving a Christian burial despite his revolutionary past.

Jacques- Louis David

(1748-1825)

Approximately 22"X 29.7"
Oil on Canvas

Circa 1817
The painting is signed, verso, left of center on the canvas, in a type of dark black grease pencil/black wax. "David" and "Jacques" are evident. To the left of the signature, is a monogram.
On the painting, there are a few small nicks, approximately 1/4 the size of a pencil eraser, a larger nick, a line, approximately 2", and minor inpainting/restoration in the background. Patches as seen on reverse; unknown previous restorative efforts in the last 50 years. It does appear in parts of the dark background, there has been a light overpaint. The main still-life scene; (table, herring, jug illumination), appears untouched. Canvas has some wear, as seen with light, from behind; (tiny holes), and will. probably need to be relined. Please email for additional images and the full condition report. Largely, in good condition, for age. There are minor defects that are nonrelated to the central scene of the painting. The painting shows the artist's flare for illumination in a meditative type of still life. 

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