David embarked on a series of family portraits in 1810. The conventional bust-length format of the paintings reflects the celebration of family promoted by Napoleon. Their innovative technique and variety of expressions, however, reflect David's restless experimentation and commitment to individuality.

Portrait of Claude-Marie Meunier About 1810–1813		Portrait of Laure-Émilie-Félicité David, Baronne Meunier About 1812

David's twin daughters both married military officers, each of whom sat for a portrait by the artist. David painted his son-in-law Meunier (above left) with loose strokes in thick paint, giving a sense of spontaneity without losing the details of his military costume. The work's bold technique stands in sharp contrast to the fluid, light treatment in the portrait of Meunier's wife (above right). David painted Émilie at the same time he was working on the much more formal, detailed portrait of Emperor Napoleon in His Study at the Tuileries.

Portrait of Jean-Baptiste Jeanin 1810		Portrait of Pauline-Jeanne Jeanin, née David, and Her Daughter Émilie Jeanin About 1821

David depicted his second military son-in-law, Jean-Baptiste Jeanin (above), in his recently earned uniform of général de brigade. In 1821 David's daughter Pauline, who had just officially separated from her husband, visited her aging parents in Brussels accompanied by her five-year-old daughter. The bust-length format and absence of background in this portrait drawing recall the experiments in facial expressions David worked on during his late years.