Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: Where was Jacques-Louis David born?
Jacques-Louis David was born into a prosperous French family in Paris on 30 August 1748. When he was about nine his father was killed in a duel and his mother left him with his well-off architect uncles. They saw to it that he received an excellent education at the Collège des Quatre-Nations, University of Paris, but he was never a good student-- he had a facial tumor that impeded his speech, and he was always preoccupied with drawing. He covered his notebooks with drawings, and he once said, "I was always hiding behind the instructor's chair, drawing for the duration of the class". Soon, he desired to be a painter, but his uncles and mother wanted him to be an architect. He overcame the opposition, and went to learn from François Boucher (1703–1770), the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, and the fashion for Rococo was giving way to a more classical style. Boucher decided that instead of taking over David's tutelage, he would send David to his friend, Joseph-Marie Vien (1716–1809), a painter who embraced the classical reaction to Rococo. There, David attended the Royal Academy, based in what is now the Louvre.
Jean Jacques Flatters was born on 6 November 1786 in Krefeld, Westphalia.
He came from Westphalia to Paris to study sculpture and painting.
He was a pupil of Jean-Antoine Houdon (1741–1828) and Jacques-Louis David (1748–1825).
Flatters began exhibiting at the Salon in 1810.
On 25 September 1813 he won the second prize for sculpture in the Prix de Rome.
Jean-Jacques Flatters served in the French army from February to July 1814 at the close of the First French Empire.
He was born to a prominent family that would produce several well-known artists. In 1819, at the age of fifteen, he went to Amsterdam, and enrolled at the Tekenacademie, where he received his first lessons from his cousin, Cornelis Kruseman. From 1822 to 1824 he studied in Brussels with François-Joseph Navez and Jacques-Louis David.
Born in Arezzo in Tuscany, he was influenced by the style of Jacques-Louis David. He was a student of the Academy of Fine Arts of Florence, then studied in Rome, 1792–1803, where he formed an informal academy with his friend of long standing, Vincenzo Cammuccini, and Luigi Sabatelli. He returned to practice in Arezzo.
Another notable French sculptor of the period was Pierre Jean David 1788–1856), who called himself David d'Angers, to distinguish himself from his teacher, Jacques Louis David. He worked in the studio of Jacques Louis David beginning in 1809. Then, between 1811 and 1816 he studied at the French Academy in Rome, where he became familiar with the works of Canova, the great Italian master of romanticism. However, he turned his own work toward classicism, illustrating the patriotic and moral virtues. He made busts or statues of many notable statesmen, including the Marquis de Lafayette, Thomas Jefferson and Goethe. In 1830, he began working on his best-known work, the frieze over the entrance of the Pantheon, titled "The Country recognizes its great men", which he completed in 1837. 
Jérôme David was born in Rome, Italy on 30 June 1823, nominal grandson of the painter Jacques-Louis David, and godson of Jérôme Bonaparte, King of Westphalia and Catharina of Württemberg, his wife.
He was the natural son of King Jérôme.
His family destined him for the navy, where he served from 1835 to 1837, but he took a dislike to this service and chose to join the army instead.
He graduated from the École de Saint-Cyr on 1 October 1844 as second lieutenant of the Zouaves.
multimedia feature; Louvre museum official website (Louvre museum) 101 paintings by Jacques-Louis David
In the last 50 years David has enjoyed a revival in popular favor and in 1948 his two-hundredth birthday was celebrated with an exhibition at the Musée de l'Orangerie in Paris and at Versailles showing his life's works.[42] Following World War II, Jacques-Louis David was increasingly regarded as a symbol of French national pride and identity, as well as a vital force in the development of European and French art in the modern era.[43]
At the age of twenty he went to Paris, where he studied under Jacques-Louis David and Jean-Jacques Karpff, but at the end of seven years he returned to his native city. In 1821 he settled at Vienna, and was much employed at the court in teaching drawing and in the execution of miniatures and water-colour paintings.
Jacques Gamelin (October 3, 1738 – October 12, 1803) was an artist born in Carcassonne, France, the son of a successful merchant. After receiving an education from the Jesuits, he went into the service of Nicolas Joseph de Marcassus, baron de Puymaurin (1718–1791), a wealthy industrialist of Toulouse, in order to learn the ways of business. Puymaurin quickly saw that his young assistant had little talent or interest in business but showed great promise as an artist. Gamelin's father rejected Puymaurin's suggestion that Jacques be sent to an art academy, so the baron paid his way at the Académie royale de Toulouse himself. After five years study, Jacques Gamelin won the Académie's first prize and he went to Paris to continue his studies. Gamelin later went to Rome with Puymaurin's financial assistance to study under Jacques-Louis David and Joseph-Marie Vien and eventually became a painter to Pope Clement XIV. On the death of his father, which left Jacques a wealthy man, he returned to Toulouse where he taught at the Académie. He is most known today for his paintings and engravings of battle scenes, which can be found in art museums throughout France. Jacques Gamelin died in Carcassonne on October 12, 1803.
Jacques Louis Marin DeFrance (born 22 October 1758, died 12 November 1850) was a French malacologist.
Born in Paris, he trained for the law, then followed courses in art and history at the Collège Louis-le-Grand and apprenticed for a time in the atelier of Guillaume Coustou the Younger and Pierre Julien, getting some practical experience in the art of sculpture. A trip to Naples in the company of Jacques-Louis David sparked his interest in Greek and Roman architecture.
Jacques-Louis David (French:[ʒaklwi david]; 30 August 1748 – 29 December 1825) was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity and severity and heightened feeling,[1] harmonizing with the moral climate of the final years of the Ancien Régime.
Ochard had been a student of Jacques-Louis David (1748–1825), and lived in Normandy, to where Monet's family had moved in 1845. Ochard's method of instruction was the traditional one of drawing from plaster casts of the human figure.
Jacques Louis Antoine Marie David (22 December 1930 – 19 December 2018) was a French Roman Catholic bishop.
David was born in France and was ordained to the priesthood in 1956. He served as titular bishop of "Girba" and as auxiliary bishop of the Roman Catholic Archdiocese of Bordeaux, France, from 1981 to 1986. He served as bishop of the Roman Catholic Diocese of La Rochelle and Saintes, France, from 1986 to 1996. David served as bishop of the Roman Catholic Diocese of Évreux, France, from 1996 to 2006.
The birth of Romanticism is traditionally credited to the paintings of eighteenth century French artists such as Jacques-Louis David.[44]
It was moved there from its original location after the artist's death on 25 December 1825 where his body had been resting in the old churchyard of the St. Michael and St. Gudula collegiate church of the Leopold Quarter of Brussels while waiting for posthumous repatriation to France. However, as a notable participant of the Reign of Terror, his body was not accepted for repatriation, and the lead-lined oak casket was left where it was. Thanks to an initiative by Jobard, a monument was erected with the text "À Jacques-Louis David restaurateur de l'école moderne de peinture de France ici dessous" ("To Jacques-Louis David, restorer of the school of modern art of France, buried here"). In 1882 a grandson requested that the monument be moved to a more prominent location and the body was re-buried at the Mayor's circle in the city cemetery of Evere. 
Christ on the Cross is a 1782 painting by Jacques-Louis David. It was commissioned by marshal Louis de Noailles and his wife Catherine de Cossé-Brissac for their family chapel in the église des Capucins in Paris. One of David's few religious works, it is now in the église Saint-Vincent in Mâcon.
Louis Ducis (14 July 1775, Versailles - 2 March 1847, Paris) was a French painter and student of Jacques-Louis David.
Born in Paris, he was son to François-Simon-Alphonse Giroux, maker of camera equipment for Louis-Jacques-Mandé Daguerre. He attended École des Beaux-Arts beginning in 1821, and was a student of Jacques-Louis David.
The Grave of Jacques-Louis David is an obelisque by an unknown artist in honor of the exiled French painter Jacques-Louis David in the Brussels Cemetery.
Jean-Baptiste David was born in 1808. He was a pupil of Pierre Duval Le Camus, who painted moralistic subjects.
Duval was in turn a pupil of the famous painter Jacques-Louis David.
Jean-Baptiste David began work in 1824, using his power of observation and facility of drawing to produce a variety of landscapes and interiors in Gothic style for publishers.
Pupil of François Joseph Hohr in Colmar, Karpff went to Paris in 1790. Legend has it that when he appeared in Jacques-Louis David's studio, one of his future classmates, judging Karpff unpronounceable David gave him the nickname of "Casimir". In 1795, he returned to Colmar where he taught drawing in the new school of fine arts and specialized in monochrome portraits. In 1806, he was summoned to Saint-Cloud to paint the portrait of the Empress Josephine, which earned him some success. He became the hosted guest of the poet Victoire Babois, where in Versailles lived the rest of his life. Karpff was buried in Père Lachaise Cemetery (27th Division).
He was born in Stuttgart. He studied from 1795 to 1797 at the Hohe Karlsschule under Philipp Friedrich von Hetsch, a follower of Jacques-Louis David. In 1797–98 he studied under Johann Heinrich von Dannecker, then relocated to Paris where he spent 1799 to 1802 in the studio of David. Between 1802 and 1811 he stayed in Rome, and became an important figure in that city's artistic life. In Schick's last years, his style of Raphaelesque classicism gradually acquired a romantic orientation.
Brookner, Anita, Jacques-Louis David, Chatto & Windus (1980) Chodorow, Stanley, et al. The Mainstream of Civilization. New York: The Harcourt Press (1994) pg. 594 Delécluze, E., Louis David, son école et son temps, Paris, (1855) re-edition Macula (1983) Dowd, David, Pageant-Master of the Republic, Lincoln, University of Nebraska Press, (1948) Humbert, Agnès, Louis David, peintre et conventionnel: essai de critique marxiste, Paris, Editions sociales internationales (1936) Humbert, Agnès, Louis David, collection des Maîtres, 60 illustrations, Paris, Braun (1940) Johnson, Dorothy, Jacques-Louis David. New Perspectives, Newark (2006) Lajer-Burcharth, Ewa, Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London (1999) Lee, Simon, David, Phaidon, London (1999). ISBN0714838047 Lévêque, Jean-Jacques, Jacques-Louis David édition Acr Paris (1989) Leymarie, Jean, French Painting, the 19th century, Cleveland (1962) Lindsay, Jack, Death of the Hero, London, Studio Books (1960) Malvone, Laura, L'Évènement politique en peinture. A propos du Marat de David in Mélanges de l'École française de Rome, Italie et Méditerranée 106, 1 (1994) Michel, R. (ed), David contre David, actes du colloque au Louvre du 6-10 décembre 1989, Paris (1993) Monneret, Sophie Monneret, David et le néoclassicisme, ed. Terrail, Paris (1998) Noël, Bernard, David, éd. Flammarion, Paris (1989) Rosenberg, Pierre, Prat, Louis-Antoine, Jacques-Louis David 1748-1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan (2002) Rosenberg, Pierre, Peronnet, Benjamin, Un album inédit de David in Revue de l'art, n°142 (2003-4), pp.45–83 (complete the previous reference) Sahut, Marie-Catherine & Michel, Régis, David, l'art et le politique, coll. "Découvertes Gallimard" (nº 46), série Peinture. Éditions Gallimard et RMN Paris (1988) Sainte-Fare Garnot, N., Jacques-Louis David 1748-1825, Paris, Ed. Chaudun (2005) Schnapper, Antoine, David témoin de son temps, Office du Livre, Fribourg, (1980) Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris (1989) Vanden Berghe, Marc, Plesca, Ioana, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles (2004) / New Perspectives on David's Death of Marat, Brussels (2004) - online on www.art-chitecture.net/publications.php Vanden Berghe, Marc, Plesca, Ioana, Lepelletier de Saint-Fargeau sur son lit de mort par Jacques-Louis David: saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels (2005) - online on www.art-chitecture.net/publications.php Vaughan, William and Weston, Helen (eds),Jacques-Louis David's Marat, Cambridge (2000) . Retrieved 29 June 2005. New York Med. , on An Abridged History of Europe. Retrieved 29 June 2005 on CGFA. Retrieved 29 June 2005