David d'Angers
French sculptor and medalist of monumental and portrait works.
Wikipedia / Wikimedia Commons
Pierre-Jean David, born in Angers in 1788, was the son of a wood carver and ornamental sculptor who fought as a musketeer in the Republican army against the Chouans. He trained under Jean-Jacques Delusse before moving to Paris in 1808 to study with Philippe-Laurent Roland. In 1809, he entered the studio of the painter Jacques-Louis David, adopting the name David d'Angers to honor his hometown and distinguish himself from his master. In 1810, he won the second grand prix at the École des Beaux-Arts with *Othryades*. The following year, he competed in the Prix de Rome for *Epaminondas* (won by François Rude), though his placement that year is not recorded as second. He spent about four years in Rome (1811–1815), visiting Antonio Canova's studio and traveling to Venice, Naples, and Florence.
After the Bourbon restoration, David d'Angers avoided Paris and went to London, where some contemporaries mistakenly blamed him for the political actions of the painter David. He eventually returned to Paris and built a successful career. His medallions and busts were in high demand, as were commissions for large monuments. Among his most famous works is the Gutenberg statue in Strasbourg's Place Gutenberg, but he personally valued most the statue of the drummer boy Joseph Bara—who reportedly kept drumming until killed in the Vendée war—and the monument to Greek liberator Markos Botsaris. He created over 500 medallions, and his sitters included notable figures from France, England, and Germany, which he visited professionally in 1827 and 1829.
In 1828, David d'Angers sculpted a bust of the Marquis de Lafayette and sent it to the United States Congress via President John Quincy Adams. In his letter, he asked that it be placed near the Washington monument, calling Lafayette and Washington "two brothers in arms" and "two men of order and of law." The bust was accepted and displayed but was destroyed in the Library of Congress fire on December 24, 1851.
His reputation rests on the Pantheon's pedimental sculpture, the marble *Wounded Philopoemen* in the Louvre, and the equestrian monument to General Jacques-Nicolas Gobert in Père Lachaise Cemetery. He also created sculptures for seven other tombs there, including bronze busts of Honoré de Balzac and Samuel Hahnemann. The Musée David in Angers holds
- born
- 12 March 1788
- died
- 4 January 1856
- field
- Sculpture, medal making
- nationality
- French
- known_for
- Pedimental sculpture for the Pantheon, marble Wounded Philopoemen, equestrian monument to General Jacques-Nicolas Gobert
Lore & Background
Pierre-Jean David was born in Angers in 1788, the son of a wood carver and ornamental sculptor who fought as a musketeer against the Chouans. He studied under Jean-Jacques Delusse and in 1808 traveled to Paris to work in the studio of Philippe-Laurent Roland. In 1810 he won the second grand prix at the École des Beaux-Arts for his *Othryades*. The following year, he competed in the Prix de Rome for *Epaminondas* (won by François Rude), though his placement that year is not recorded as second. He spent about four years in Rome (1811–1815), frequenting the studio of Antonio Canova and traveling to Venice, Naples, and Florence.
Returning from Rome during the Bourbon restoration, David d'Angers traveled to London, where some contemporaries mistakenly blamed him for the political actions of the painter David.
Reader's Guide
David d'Angers is significant for his prolific output of portrait medallions and busts, which captured many leading figures of his era across France, England, and Germany. His monumental works, such as the Gutenberg statue and the pedimental sculpture for the Pantheon, demonstrate his range from public commemorations to intimate portraits. His legacy is preserved in the Musée David in Angers, which holds an almost complete collection of his works in copies or original moulds. The destruction of his Lafayette bust in the 1851 Library of Congress fire underscores the fragility of historical artifacts. His benevolence is exemplified by his rushing to model and carve the dying Rouget de Lisle, author of the Marseillaise, and sending him the proceeds of a lottery of the work. Victor Hugo praised his monument to Markos Botsaris, saying it joins the grandeur of Pheidias to the expressive manner of Puget. David d'Angers remains a key figure in 19th-century French sculpture, bridging neoclassical and romantic tendencies.
Did You Know?
- David d'Angers adopted his name after entering the studio of painter Jacques-Louis David in 1809 to express his patrimony and distinguish himself from the master.
- His bust of the Marquis de Lafayette, presented to the U.S. Congress in 1828, was destroyed in the Library of Congress fire on December 24, 1851.
- He rushed to the sickbed of Rouget de Lisle, author of the Marseillaise, modeled and carved him in marble, and sent the poet the proceeds from a lottery of the work.
- His medallions number over 500, including sitters from France, England, and Germany.
Frequently Asked Questions
Who is David d'Angers?
Pierre-Jean David (1788–1856) was a French sculptor and medalist celebrated for both monumental public commissions and intimate portrait busts. He is particularly remembered for his pedimental sculpture on the Pantheon in Paris.
What are David d'Angers's most famous works?
His signature pieces include the marble Wounded Philopoemen, the equestrian monument to General Jacques-Nicolas Gobert, and the pedimental sculpture for the Pantheon.
How did David d'Angers get his name?
After joining the studio of painter Jacques-Louis David in 1809, he added "d'Angers" to his surname as a tribute to his birthplace and to set himself apart from his master.
What was David d'Angers's early training?
He grew up in Angers, the son of a wood carver who had served as a musketeer in the Republican army, and studied first under Jean-Jacques Delusse before relocating to Paris in 1808 to train with Philippe-Laurent Roland.
Why is David d'Angers important in art history?
He played a key role in shaping French public sculpture of the early nineteenth century, contributing to landmarks like the Arc de Triomphe and the Louvre while also pioneering expressive, individualized portrait busts that moved beyond strict Neoclassicism.
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