Honor and Sorrow: The Two Faces of War
War is the most catastrophic of all human undertakings; the experience has an intense effect on those who fight. The idea of battle can evoke different emotions in people. On the one hand, war can display the strength of brotherhood and patriotism. On the other hand, the thought of going to war can leave one bewildered and numb. This contrast exhibits itself in Jacques-Louis David’s Oath of the Horatii, 1784, and Alice Neel’s Black Draftee (James Hunter), 1965.
Jacques-Louis David’s Oath of the Horatii depicts a scene from the Roman legend, involving a conflict between Rome and Alba. Both cities elect three representatives to settle their disputes. The Romans select the Horatius brothers, and the Albans choose the Curatius brothers. This Neoclassical painting portrays the Horatii as they take oath on their swords which are held high in the air by their father, willing to sacrifice their life for Rome, oblivious to the dejection of the Horatius women.
The focal point is the three brothers with straight and robust arms reaching for the swords their father is offering. David masterfully uses the triangular composition to express the powerful sense of structure and stability in the Horatii brothers and their father. The painting is extremely well balanced as David employs harmony, mimicking the three brothers with the three large arches behind them. The idea of threes is shown again in David’s painting of the three swords and three Horatii women. The point of interest, the brothers, stands in the foreground with the woman to the right and slightly behind.
David’s harmonious proportions are evident in the highlighting of the brother on the far left and the woman on the far right. They are the most bright lighted of the figures, and their cloaks are of the same ivory hue. These figures serve to anchor the painting. Additionally, David paints with great detail, giving life to the piece. The faces on the men are classical, linear, and powerful, while the women’s, although linear, are downcast and anguished. The musculature of the men’s arms and legs are life-like, signifying their military prowess, while the expression on their faces demonstrates their determination, patriotism, and loyalty to their cause. The outstretched arms reaching toward the swords symbolize the brothers’ eagerness to risk their lives to defend Rome. The brothers express discipline and loyalty to the republic. They also stand in unison, going to battle bonded to each other.
By contrast, Alice Neel’s Black Draftee (James Hunter) represents the opposite effects of going to war. In this painting, a young man has just been drafted to serve in the Vietnam War and was scheduled to leave within a week. At that time, President Lyndon Johnson decided on a considerable increase in the number of U.S. troops.
The focal point is Hunter’s face at the center of the canvas. It is especially highlighted because the rest of the portrait is unfinished. The viewer is also drawn to his face due to its contrast with the background. The painting is well balanced because Hunter’s body is well proportioned to its surrounding. The main detail in Black Draftee is his facial expression which exhibits sorrow in the proposition of departing for the war. Hunter’s posture is stooped. He is slumped in the chair, looking dejected, as he rests his head against his left fist. Neel’s characterization of Hunter’s eyes expresses anguish, bewilderment, and pensiveness. He seems almost repulsed at the prospect of war. Although some veterans of war speak of missing the exhilaration of combat, the idea of fighting and killing is abhorrent to those who do not choose to sign up.
Both Oath of the Horatii and Black Draftee (James Hunter) depict men going to war, and the artists both have similar and contrasting portrayals of the emotions before heading to combat. Both paintings have a clear focal point — the three Horatii brothers and James Hunter. Both works employ an apparent equilibrium, making the works aesthetically pleasing. The Oath of the Horatii displays intricate detail, especially notable in David’s depiction of the musculature and clothing. By contrast, Black Draftee has little detail, except for Hunter’s face. Interestingly, Hunter never returned for a second sitting, so Neel decided to call this painting finished. This explains the lack of detail. Both David and Neel enliven the figures, using intricate detail in their expressions. Although the faces are quite different, the artists convey what their subjects are feeling. David uses sumptuous colors: rich coral, ochre, aegean, and pewter. Alternatively, Neel only paints with rich browns, the canvas otherwise being devoid of color. Both artists paint their subjects’ posture to reflect their inner state. The powerful, prideful, and militaristic stance of the brothers stands in contrast to the slouched posture of James Hunter.
David’s Oath of the Horatii and Neel’s Black Draftee (James Hunter) represent the different sentiments that the prospect of fighting a war foments. Both artists successfully portray the spirit of their subjects’ views about going to war — the Horatii brothers respond to their duty with ardor while Hunter is thoughtful, uncertain, and reluctant. The difference in the facial expressions, use of color, and posture juxtaposed with the similarity in the equilibrium, and the precise detail in the subjects’ faces provide points of interest that bathe the viewer in the messages about the duality of war.
