Abstract

In 1762, Socrates’ last moments was the first examination topic for the « prix de Rome » not to be taken from sacred history. Yet this subject is unfit to visualisation, because it lacks action. This paper exposes the formal and conceptual difficulties implied by this subject which was nevertheless profoundly neoclassical. It also offers a reflexion on the assimilation of new themes in the painting of historical subjects at the end of the Enlightenment.