Jacques-Louis David at The Louvre, Paris

Jacques-Louis David (30 August 1748 – 29 December 1825) was an influential 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 a classical austerity and severity, heightened feeling harmonizing with the moral climate of the final years of the Ancien Régime. David later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release, that of Napoleon I. At this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a large number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting. Jacques-Louis David's facial abnormalities were traditionally reported to be a consequence of a deep facial sword wound after a fencing incident. These left him with a noticeable asymmetry during facial expression and resulted in his difficulty in eating or speaking (he could not pronounce some consonants such as the letter 'r'). A sword scar wound on the left side of his face is present in his self-portrait and sculptures and corresponds to some of the buccal branches of the facial nerve. An injury to this nerve and its branches are likely to have resulted in the difficulties with his left facial movement. Furthermore, as a result of this injury, he suffered from a growth on his face that biographers and art historians have defined as a benign tumor. These however may have been a granuloma, or even a post-traumatic neuroma. As Simon Schama has pointed out, witty banter and public speaking ability were key aspects of the social culture of 18th century France. In light of these cultural keystones, David's tumor would have been a heavy obstacle in his social life. David was sometimes referred to as David of the Tumor. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email [e-mail] to find out how you can help.雅克-路易·大卫（1748年8月30日—1825年12月29日）是新古典主义(Neoclassical)风格中极具影响力的法国画家，被视为该时代最卓越的画家。1780年代，他以理性思辨的历史绘画创作，引领审美风尚从洛可可(Rococo)的浮华轻佻转向古典主义的质朴严谨，其浓郁的情感表达与旧制度(Ancien Régime)末年的社会道德氛围相得益彰。 大卫后来成为法国大革命的积极支持者，也是马克西米连·罗伯斯庇尔（1758—1794）的挚友，并在法兰西第一共和国时期实际执掌艺术话语权。罗伯斯庇尔倒台后，他曾身陷囹圄；获释后，他又依附于另一个政治政权——拿破仑·波拿巴一世的统治。在此期间，他发展出标志性的帝国风格(Empire style)，其作品以暖调威尼斯(Venetian)色彩运用而闻名。拿破仑倒台、波旁王朝复辟后，大卫自我流放至布鲁塞尔——当时隶属于荷兰联合王国(United Kingdom of the Netherlands)，并在此度过余生。大卫门生众多，使其成为19世纪早期法国艺术界最具影响力的人物，尤其对学院派沙龙(Salon)绘画影响深远。 雅克-路易·大卫的面部畸形，传统观点认为源于一次击剑事件中造成的深度面部剑伤。此次负伤导致他面部表情时出现明显不对称，还使其进食与言语均受影响——他无法清晰发出部分辅音，如字母“r”。其自画像与雕塑作品中，左侧面部的剑伤疤痕清晰可见，该疤痕恰好对应面神经颊支(buccal branches of the facial nerve)。该神经及其分支受损，大概率导致了他左侧面部运动障碍。 此外，此次负伤还使其面部长出赘生物，传记作者与艺术史学者将其定义为良性肿瘤(benign tumor)。不过该赘生物也可能是肉芽肿(granuloma)，甚至是创伤后神经瘤(neuroma)。正如西蒙·沙玛(Simon Schama)所指出的，诙谐谈吐与公众演讲能力是18世纪法国社交文化的核心要素。结合这一文化背景，大卫的面部肿瘤无疑会成为其社交生活中的沉重阻碍。大卫也曾被戏称为“带瘤的大卫”。 本作品隶属于“扫描世界(Scan The World)”项目。“扫描世界”是MyMiniFactory推出的非营利性倡议，旨在打造全球范围内可3D打印的雕塑、艺术品与地标建筑的数字档案库，供公众免费获取。该项目为开源社区协作项目，若您身边有有趣的藏品并希望参与贡献，可发送邮件至[e-mail]了解参与方式。