Before the French Revolution artistic themes were commonly associated with political theories and the manlike system. They represented holy Roman virtues such as the polite trait of self-sacrifice, suppression of emotion, devotedness to public duty, honesty and austerity.
A classic example is Jacques-Louis Davids Neo-classical history painting, The Oath of the Horatii 1769. In this image the Horatii confidence their willingness to die for Rome, to put the interests of Rome over their own lives, and that of their familys devotion and love. The image of the weak women distant from the action shows family and self-interest contend a secondary role to the interests of Rome. This radical illustrates the history of the Roman Republic, the marginalisation of women, and most significantly the strong, heroic male body as the symbol of the new social and political order.
Alternative flavour in post-revolutionary France appeared to portray a realignment of masculinity. As art historian Abigail Solomon-Godeau suggests in her article Male Trouble: A Crisis in Representation the masculine apotheosiss of absolute toughness stubborn confidence and emotional silence demonstrated in Davids Horatti were shaken by a new emphasis on male emotions. The pertinacious tradition of the sensual female body representing desire and dish was replaced by the male body representing virtue, sociability and desirability.
This new ideal of the feminized male is evident in Anne-Louis Girodet Triosons painting The Sleep of Endymion 1791. This composition depicts the story Endymion loved by the Goddess Diana, her presence illustrated only done the rays of moonlight, and instead a depiction of a young Amor intention gazing upon a dreamy and passive Endymion, all soft form and soft moonlight. The presentation to the viewer here is the character traits historically bequeathed upon women; the accentuated curves of the body and the lustrous hair and porcelain skin.
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