Set before a temple floating in the clouds, Venus, the goddess of love, and her followers, the three Graces and Cupid, are shown taking away the weapons, helmet, shield, and armor of Mars, the god of war.

The art historian Philippe Bordes emphasizes this point, arguing that David was embracing “a past which was more than just the beau ideal" and "a present which was more than a stake in realism.”[1] The painting initially received little commentary from critics, perhaps owing to the artist's position in political exile.

Art historians have sometimes seen the painting's treatment of Venus and Mars as a broader commentary on gender, showing femininity ultimately conquering masculinity.

In this respect, Mars Being Disarmed by Venus represents a return to form for David, departing from the emphasis on masculine heroism that had defined mid-career works such as the Oath of the Horatii.

[4]In terms of technique, the painting can be described as combining idealism and realism, but art historians have sometimes seen this stylistic opposition as related to themes of gender and politics.

Art Historian Satish Padiyar argues that David, through the figures of Mars and Venus, “pulls his once authoritative language apart, shatters and disarms it.”[5]