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From the Introduction:
THE ORIGIN OF THESE STUDIES, which examine the experiences of artists at thefall of the French Empire, began in curiosity about Jacques-Louis David’s final
artistic phase in Brussels, his place of exile from 1816 as a proscribed
revolutionary regicide. The work of his final Belgian period has been
underestimated when not disparaged for its seeming awkwardness and
incongruities, as if his gifts had deserted him. No more than a first level of
examination, however, reveals David taking remarkable liberties with the
accepted rules of painting in the period—protocols he had done as much as
anyone to define— in order to figure the changed circumstances of his
existence, while mordantly reflecting on the immense historical processes that
had left him to one side.
Looking outward from this one instance of a defining cultural figure
displaced to peripheral status, unexpected movements across old boundaries
—whether geographical, religious, national, or social— came into focus as
transforming the cultural networks of the period. Alongside human actors, art
objects were likewise set in motion; the restoration of the works of art
transported to Paris by Napoleon Bonaparte’s armies made for a drama in
itself. Their fate uncertain, the great Vatican antiquities—the Laocoön, the
Belvedere Apollo, the Belvedere Torso—loomed large in the pan-European
imagination as symbols of all the larger attempts to restore the pre-
Napoleonic status quo. Venetian sculptor Antonio Canova assumed the role of
roving diplomat pursuing their repatriation. In that capacity, he linked
himself to a new set of patrons in England and struck up a close relationship
with Thomas Lawrence, their portraitist of choice, who was setting out for the
Continent on an unprecedented commission to commemorate the victory of
the allies in a mammoth suite of individual portraits.