(jazzy music) Male: We're in the
Louvre and we're looking at a late Jacques-Louis David, The Intervention of the Sabine Women. It was meant as a pendant to Poussin's earlier very famous Rape of the Sabine. Female: Also in the Louvre. Male: It takes as its narrative the story of the founding of ancient Rome. We're actually located
very specifically in Rome, in the Forum, and we can see rising above the capital of Rome itself. The story, very quickly,
is that the Romans, who had no women, attack the Sabine, a neighboring tribe, and
ran off with their women. Years later, the Sabine attacked Rome to get the women back. Here we have Hersilia, who is now the wife of the Roman leader, Romulus,
the king of the Romans, and also daughter of Female: The king of the Sabines. Male: She's watching her
husband and her father about to kill each other. She steps in the middle with her children, his grandchildren, his sons, and says, "Stop." Think about this in historical context. This is just a few years
after the outrageous violence of the Reign of Terror at the end of the French Revolution. This is a moment and a painting about reconciliation. Female: David conceived the idea while he was in prison. He was in prison because
of his participation in the Reign of Terror, the most radical period of the revolution, the fact that he had been a follower of Robespierre who had just been beheaded. So this idea of reconciling
the French state, looking for a political,
peaceful solution. The fact that women play
such a pivotal role here is so different from
all David's earlier work where men are really the actors. Men are making the
sacrifices for the state. Women are all generally very
passive, very emotional, very concerned about
their own selfish needs, and here those needs become the pivot to turning the state around. Male: If we did turn
around, we would be looking at the Oath of the Horatii, which hangs directly opposite this painting; David's early masterpiece that does completely make women ineffectual and places them in the position there associated with emotion
which is subordinate to the needs of the state. Here the needs of the state
are served by that emotion. Female: And Hersilia dressed in white symbolizes purity and righteousness. Male: But it's powerful. Female: Very powerful. She strides forward. She spreads her arms. Another female figure opens her arms and looks over toward
the King of the Sabines and holds her arms open saying, "Look at the children;
think about the children." Male: What's so interesting is if you look at the two male protagonists, they are focused only on each other; so much so, that they actually don't see the world around them. It's the women that you have a sense where you have the fuller picture. Female: While Romulus and Tatius, the King of the Sabines, focus exclusively on each other, another soldier on horseback to the right understands what's about to happen here and puts his sword away. Male: That's right. Another nude turns his horse around and walks away from the field of battle. Female: Although this may look
generally Classical to us, David was looking for
something specifically Greek. Male: By Greek, I think David was really looking to male nudity. If you think about the
Oath of the Horatii, those Romans are fully clothed; but here he's really looking
back to Greek sculptures and to that particularly Greek idea of the celebration of the human body. Female: As we're standing here and I'm looking at the figure of Hersilia, this really strong female figure that so dominates the canvas with her breasts revealed
through the drapery, these beautiful folds of drapery that highlight her womb, her legs spread with children in between. It feels to me that this
is about motherhood. We know that David was imprisoned and visited by his wife Male: Even though she was estranged. Female: And also perhaps
had royalist sympathies. So one wonders if this is a reconciliation that's both personal
and political for David. (jazzy music)