At the Villa Medici
Peter Campbell: 17th-Century Religous Paintings, 30 November 2000
“... structures of state and church and acknowledges their authority.Perhaps as a result, the paint is anonymous – the character of a mark does not attract attention to itself except when a change of surface texture – say, between one fabric and another – must be registered. (David would let this French tradition of brushwork be the vehicle for political ... ”