JUNE 6–SEPTEMBER 5, 2005
In Brussels, David's drawings took on a new character. Previously, he had used drawing primarily as a part of his painting process, but during his exile he increasingly drew fully developed scenes and highly expressive figures that did not directly relate to any of his paintings. David also experimented with different drawing techniques during these years; in addition to the precise linear drawings he had made before his exile, he began to produce softer, velvety images in imitation of lithographic prints, a newly invented process that became very popular in the early nineteenth century. Though David was no longer at the center of the Parisian art community, his late drawings demonstrate that he continued to develop as an artist throughout his years in exile.