Dice-Thrower and Other Studies after Ancient Sculptures

Dice-Thrower and Other Studies after Ancient Sculptures by Jacques-Louis David is an exemplary drawing executed between 1775 and 1780, dating to a critical phase in the artist’s career when he was absorbing the tenets of classical form. This French work, rendered in the precise application of black chalk and gray wash on laid paper, exemplifies the rigorous academic training prevalent during the influential period of 1751 to 1775. The utilization of the gray wash provides subtle gradations of shadow and modeling, essential for studying the volume and three-dimensionality inherent in sculptural forms. David used these techniques to capture the nuances of marble surface texture, moving beyond mere outline to a sophisticated study of light and shade.

The subject of this study revolves around the academic requirement of copying classical antiquity. During his time as a pensionnaire at the French Academy in Rome, David meticulously examined the masterpieces of Greco-Roman sculpture, focusing intensely on idealized anatomy and heroic poses. The prominent figure, which scholars often identify as a version of the Capitoline Discobolus or a similar athletic figure, reflects David’s dedication to mastering the human form as understood by the ancients. These individual studies were crucial preparation for the large-scale history paintings that would later define Neoclassicism, a movement David ultimately came to champion.

These preparatory works are not merely academic exercises but demonstrate David’s burgeoning mastery over the depiction of classical idealism. The detailed execution and focus on structural integrity make the drawing historically significant as documentation of David’s formative process, showing the exacting method required of emerging masters in the late eighteenth century. The piece provides valuable insight into the foundations of the Neoclassical style. This important work currently resides in the collection of the National Gallery of Art.