Masterpieces of Neoclassicism and Royal Portraiture: David and Goya
Oath of the Horatii: A Neoclassical Paradigm
There are countless interpretations of Oath of the Horatii, a seminal work by Jacques-Louis David, often considered, alongside his Death of Marat, a cornerstone of French art and a quintessential example of Neoclassical painting. The work draws inspiration from Corneille’s theater and the paintings of Poussin. During this period, theater in France was undergoing a revival, serving as a platform for moral instruction. Stories from antiquity were used to inspire a society perceived as corrupt under the Ancien Régime—a sentiment that would culminate in the French Revolution just five years later.
The Neoclassical generation revered Poussin, an artist of the 17th century, as the epitome of what painting should be: grounded in drawing, perfect lines, uniform white light, and balanced compositions based on geometric structures. David masterfully translated these techniques into his own modern language. Even in his earlier work, Belisarius, the young artist demonstrated a rigorous narrative pace. However, in Oath of the Horatii, he achieves a dual structure: unity of place, time, and story, while simultaneously presenting a narrative in three acts. These acts are visually demarcated by groups of characters and the three arches of the background architecture.
The painting depicts a legendary event from the 7th century BC, during a conflict between Rome and Alba. The war was to be decided by single combat between three Roman champions (the Horatii brothers) and three Alban champions (the Curiatii brothers). The situation is further complicated because the families are connected through marriage: a sister of the Horatii is married to a brother of the Curiatii, and vice versa.
The three stages of the narrative are:
- The declaration of war by the three brothers.
- The oath of allegiance to Rome, administered by their father on the swords they will use in battle.
- The despair of the women, who are relegated to mourning in private.
The painting adheres to the Neoclassical convention of differentiating male and female spaces. The male space is public, associated with war or work, while the female space is the home, a place of privacy where women mourn fallen heroes or perform domestic tasks.
The Family of Charles IV: A Royal Portrait Masterclass
The Family of Charles IV represents the culmination of Goya’s portraiture during this period. Letters from Queen Maria Luisa of Parma to Godoy provide a detailed account of the painting’s creation. The work was executed in Aranjuez between April and the summer of 1800.
The individuals depicted, from left to right, are:
- Carlos María Isidro, son of Charles IV and Maria Luisa de Parma.
- The future Fernando VII, eldest son of the royal couple.
- Goya himself, painting, reminiscent of Velázquez in Las Meninas.
- Doña Maria Josefa, sister of Charles IV.
- An unknown figure, possibly intended to represent Fernando’s future wife, hence the turned head.
- Maria Isabel, the youngest daughter of the monarchs.
- Queen Maria Luisa of Parma, positioned at the center, symbolizing her power as she controlled the government through Godoy.
- Francisco de Paula, holding his mother’s hand, rumored to bear an uncanny resemblance to Godoy.
- Charles IV, positioned slightly ahead of the group.
- Don Antonio Pascual, the monarch’s brother.
- Carlota Joaquina, the eldest daughter of the monarchs, only her head is visible.
- Don Luis of Parma.
- His wife, Maria Luisa Josefina, another daughter of Charles IV.
- Their son, Carlos Luis, in his mother’s arms.
The men are adorned with the Order of Charles III, and some also wear the Golden Fleece. The ladies are dressed in the latest fashion and wear the band of the Order of Maria Luisa. Charles IV also displays the insignia of the Military Orders and the Order of Christ of Portugal.
There has been speculation that Goya intended to ridicule the royal family in this portrait. However, this seems unlikely, given documents where the queen expresses satisfaction with the likenesses. It is more plausible that the royal family simply appeared as they were. Had Goya intended satire, the painting would likely have been destroyed, and he would have fallen from grace, which did not occur.
Goya arranges the figures like a frieze, dividing them into three groups to create movement. The monarchs and their two children are at the center. The group on the right, led by the crown prince, is rendered in cool tones, while the Princes of Parma on the left are depicted in warm tones. A golden mist envelops the figures, creating a visual link to Las Meninas.
Goya’s primary interest lies in capturing the personalities of his subjects, particularly the queen, the true protagonist, and the king, who appears apathetic and distant. The work is an unparalleled human document. Goya’s loose brushwork is remarkable; from a distance, every detail appears meticulously rendered, but up close, the individual brushstrokes become evident. Unlike Velázquez in Las Meninas, Goya forgoes perspective games, relying instead on light and color to create volume and differentiate the various planes in depth.
The Family of Charles IV was the first work by Goya to enter the Museo del Prado in 1834, valued at 80,000 reales.