One of Jacques-Louis David's most ambitious and darkly enigmatic
paintings, Leonidas at the Pass of Thermopylae, hangs today in the
Louvre, largely ignored. Focusing on this painting, Chains embarks
on a discourse about the perception of the body, sexuality, and
subjectivity in early nineteenth-century European art.
In addition to David, Chains explores the sculptural oeuvre of
David's contemporary and rival, Italian sculptor Antonio Canova.
Padiyar argues that, like David's postrevolutionary work, Canova's
innovative sculptures embodied a new, distinctively modern type of
subjectivity. The book aims to take a fresh view of the status of
the male body in the work of these two late neoclassical artists by
linking them in novel, sometimes unexpected ways with key figures
of the late Enlightenment. In postrevolutionary Europe,
philosophical and literary figures such as Immanuel Kant and the
Marquis de Sade pushed the language of neoclassicism to its limits.
Chains argues that such innovations produced a new, distinctively
sexed, politicized, and aestheticized heroic male body that emerged
as an incidental aftereffect of the French Revolution.
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