This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.
No single work announced Neoclassicism's arrival as decisively as Jacques-Louis David's Oath of the Horatii, completed in 1784 and shown to great sensation at the Paris Salon of 1785. The painting depicts a scene from Roman legend, recorded by the historian Livy, in which three Horatii brothers swear an oath to their father before combat against three brothers of the rival Curiatii family, a fight meant to settle a war between Rome and Alba Longa, even though the families are bound by marriage and betrothal. David rendered the scene with severe, geometric composition, archaeologically considered armor and setting, and a stark emotional contrast between the rigid resolve of the swearing men and the collapsed grief of the women, who will lose brothers, husbands or betrothed regardless of the outcome. Contemporaries and later historians alike read the painting as more than an illustration of ancient history. Its emphasis on stoic self-sacrifice for the collective good, delivered in a style stripped of Rococo decoration, was understood at the time as a repudiation of the frivolity associated with the ancien regime and as a rehearsal of the civic virtue that revolutionary France would soon demand of its own citizens. David went on to become a central visual propagandist first for the French Revolution and later for Napoleon, for whom he served as court painter, using the same classicizing vocabulary he had developed for ancient subjects to mythologize contemporary events such as Napoleon's crossing of the Alps. The painting's afterlife illustrates a broader truth about Neoclassicism: its return to antiquity was never a purely antiquarian exercise, but a language that eighteenth and early nineteenth century Europeans used to argue about the present, and Oath of the Horatii remains the movement's most cited example of art doing exactly that.