English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Open

" I was always hiding behind the instructor's chair, drawing for the duration of the class, " admitted Jacques-Louis David, acknowledging his early artistic bent (1). The orphaned son of a wealthy Paris family, David went on to study art, first under distant relative François Boucher, then under gifted teacher and rococo painter Joseph-Marie Vien. Later, in Italy for 5 years, David became engrossed in archaeology, classical architecture, and mythology, which, along with the paintings of his compatriot Nicolas Poussin, provided inspiration for his work as leading neoclassical painter (2). David's era was the Age of Enlightenment, whose standard-bearers (Heine, and others) revolutionized economics, politics, and religion, steering them away from authoritarian tradition, toward reason and the common good. The arts, abandoning the baroque, relinquished the ornate, aristocratic, and frivolous excesses of rococo. They turned toward nature and heroic morality, and by extension, toward the ancient " apostles of reason, " the classics, and their " noble simplicity and calm grandeur. " Italy's artistic leadership declined, leaving the role of guardian of Western art to France and the students of Vien (3). The great political upheavals of the mid-18th century, the American Revolution and the French Revolution, followed the sweeping changes in the world of ideas and ushered in the modern era. David enthusiastically took part in the French Revolution and interpreted the issues of his day in masterpieces drawn from ancient moral dilemmas (The Death of Socrates) and contemporary events (The Death of Marat). Napoleon Bonaparte rose to power after a coup d'état in 1799. A plebiscite in 1802 confirmed his lifetime rule as Consul of France, in preparation for his becoming Emperor of the French Republic. In 1804, in an elaborate ceremony reminiscent of the coronation of Holy Roman Emperor Charlemagne and in the presence of Pope Pius VII, Napoleon grasped his sword to his heart and put the crown on his own head (4). David, then official painter to the emperor, was tasked with commemorating the coronation festivities at the cathedral of Notre Dame. David's rendition of the event, on this month's cover of Emerging Infectious Diseases, does not dwell on Napoleon's imperial indiscretion. Rather, it portrays the crowning, by the emperor, of his wife Josephine. Josephine's coronation itself is a small part of the massive composition, an enormous group portrait of more than 100 figures (5). Art has been a powerful instrument of revolutions, and David …

Jacques-Louis David (1748–1825). Coronation of Empress Josephine by Napoleon I at Notre Dame de Paris, 2 December 1804 (1806–1807)