Analysis of the Coronation of Napoleon

Due to the time period in which David created art, some ideals of the enlightenment may have been depicted, this, however, wasn’t the main motive of David’s art. “The enlightenment was a radically new synthesis of ideas about humanity, reason, nature, and God that had arisen during classical Greek and Roman times and during the Renaissance (Stokstad 898).” In Napoleon Crossing the Alps, the central figure of the painting is Napoleon. He was a war general who gained popularity through conquest before making himself emperor in 1804. In the painting, he is the largest and clearest figure depicted. This painting goes against the ideas of the enlightenment such as separation of powers, where power is split across three branches equally so that no one person would hold too much power, which was a widely held ideal during the time (Spielvogel 28). This painting does, however, serve as propaganda to depict Napoleon as a strong leader because he is appearing to stay still and calm on a moving horse in order to show that even through chaos he will remain a good leader for his people. Napoleon Crossing the Alps conveys that the purpose of David’s art wasn’t to depict the ideals of the enlightenment, but to influence the audience and to be used as

To truly understand what is relevant about this story of the Horatii and this painting of David in relation to the French Revolution, it is important to make a distinction between the things that are relevant for this research and what is not. The renaissance of the Antiquity sort of means the same as the downfall of the Ancien Regime. Neoclassicism is connected to reality and the values of the Antiquity, wherein the Ancien Regime is connect to the beauty and plentifulness of the rococo style. That rococo style is something most monarchies could identify with.(Kunstkennis.nl)

This document speaks to how in many ways they put Napoleon on a pedestal and how he took this view in order to gain more power. The purpose of this document is to show Napoleon as a more godly figure and to move him into the view of an absolute ruler. This helps to show how Napoleon betrayed the legacy of the French revolution by taking on an absolute

Claude Vignon’s work called David with the Head of Goliath, is an interpretation of the artist Caravaggio’s original masterpiece, which shows art’s familiar paradigm, every painter paints himself. His motivation for creating this piece was from visiting rome in 1610, he was influenced by Caravaggism, which was art inspired in the style of Caravaggio. “Some art historians regard him as a precursor of Rembrandt.” Painted circa 1620-1623, it is an oil on canvas, made in Paris, France, 133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.). “Vignon was a French painter, printmaker and illustrator, and, in 1623, was one of the most respected, productive, and successful artists in France, in which his patrons were king Louis XIII and Cardinal Richelieu.” He was born into a wealthy family and started art lessons when he was a young boy. A theme could be religious rebellion against others who were seen as powerful such as Goliath, and were not fit to be in power.

The Chansons de Geste are epic poetry from French literature around the time of Charlemagne that myth logically told the stories of paladins, knights, and lords. An illumination from this manuscript called Roland Fealty (attached) shows Roland, a well-known leader of the time pledging his allegiance, or fealty, to Charlemagne as a vassal pledging his allegiance to his lord. Roland and his men have one hand in the air and are depicted as knights with swords on their sides, as is customary of leaders during this time. Charlemagne’s face is full of strength and wisdom as he embodies the characteristics of an ideal leader. The piece is similar to other well-known works from the time such as the Ottonian Otto III enthroned. The transitional piece of the Limbourg brothers October from Les Tres Riches Heures du Duc de Berry depicts the vassals working in the fields while the castle in the background shows the prevalence of feudalism even in the early 15th century. The statue David by Donatello was patronized by the Medici family and depicts David from the Biblical David and Goliath story in which tiny David kills the giant with only a stone. David was a moral figure for Florence because he represented them earlier during this time in which they were living under threat of invasion by King Ladislaus. The Medici’s chose to patronize another statue of him, perhaps to revive humanism even more. During this time, the Medici family was coming to power in

Napoleon won battles in Italy and Austria early in his rule, but eventually, the French Emperor attempted to conquer other major powers in Europe. Napoleon lost major battles in Russia and Britain, and the French people’s perception of their king began to change. Document 5 shows a painting of Napoleon in 1812, during the French invasion of Russia. Napoleon is depicted very negatively: he appears to be short, almost small, overweight, and certainly not the heroic image he carried early in his rule. In Document 7, Napoleon is controlled at the hands of the Duke of Wellington, dancing like a puppet. The painting was published in 1815, the year Napoleon was officially removed from power. As Napoleon’s initial success faded, so did his

Napoleon Bonaparte is seen by historians in a variety of lights. Some judge him for his lack of mercy for those in his warpath along with his unmatched air of confidence. Others choose to see him for the leadership abilities and keen mind that fueled his remarkable triumphs as a general, commander, First Consul of France, and even emperor. Owen Connelly uses his work, The Epoch of Napoleon, to bridge the gap that other historians and authors have skimmed over, giving the reader an inside look at not only Napoleon’s military life, but also his political and personal life. Furthermore, Connelly achieves this by showing both the ruthless and heroic sides of Napoleon, including non-military details from the life of Napoleon, and lastly, including quotes from Napoleon and those that interacted with him.

This aspect can be seen in the case of African American painter Kehinde Wiley’s Napoleon over the Alps. The work depicts a Black man dressed in a modern camouflage jumpsuit with a bandana tied on head while aboard a horse pointing upward (). The work is an is an exact imitation in composition and supporting subjects as the painting of the equestrian portrait under the same name done by French artist Jacques-Louis David between 1801 and 1805 (). By the work imitating the same composition as that of the portrait that depicts someone of the regality and power once achieved by Napoleon and switching the figure with a modern Black man implies that he has the same power. However, Napoleon is commonly known in Western society and the man in Wiley’s

For example, imitating a well-known portrait of Napoleon Leading the Army over the Alps by Jacques-Louis David. Whiley re-designed this portrait by substituting the figure of Napoleon with an anonymous African American model and set him against Rococo style background (A New Republic pg. 10). This In observation, this addition destroys the stereotype given to the black image and grants the viewer of similar decent, a strong sense of empowerment of who they are within the

Jean-Louis David, the author of the painting, was a well-known supporter of the idea of the French Republic, and he used art as a means of propaganda, getting the people ready for an incoming conflict (Harris & Zucker, n.d.). The painting depicts two families, the Horatii and the Curiatii, and an old legend about a war between Rome and Alba. The members of these families were chosen to decide the victorious side in a battle, even though they were intermaritally related. Therefore, regardless of the winners, the family will be torn apart and suffer.

In the early years of the Revolution, Jacque-Louis David was an individual from the radical Jacobin gathering drove by Maximilien de Robespierre, and he turned into a dynamic, politically dedicated artist included in a decent arrangement of revolutionary propaganda. He created artworks such as "Joseph Bara", the portrayed "Vow of the Tennis Court" and "Passing of Lepeletier de Saint-Fargeau" during this period, all with progressive topics stamped by affliction and heroics even with the

If you look closely at the story and see, how did Napoleon get his power? It was from fear and propaganda that he used.

Due to the instabilities caused by the Napoleonic Wars a new style of architecture did not develop during Napoleons rule, resulting in the continuation of pre-French Revolution classicism. With the intention of articulating imperialistic grandeur and referencing France as the “new Roman Empire” , an emphasis was placed on neoclassical elements and the use of columns and arches becoming more liberal. Jean Chalgrin’s Arch de Triomphe provides an example of politically motivated neoclassical architecture. The triumphant arch was commissioned by Napoleon in 1806 to serve as an honorary monument and rallying point for the French military . Inspired in part by the Arch of Titus in the Roman Forum, decorative high-relief sculptures celebrating military victories from the French Revolution and the Napoleonic Wars adorn the structure . It is evident that Napoleon believed that as an empire that had annexed and made most of Europe into its satellites, the First French Empire deserved to have its grandeur reflected by a monument that referenced one of the world’s largest and most successful ancient Empires. Through large and imposing monumental structures, Napoleon sought to reminded French society of the military and political successes that had been achieved under his rule and consequently idealise his leadership, The First

How have historians tried to evaluate the ultimate goal of Napoleon I, Emperor of the French? With such a variety of perspectives, there is no single theory that can fully answer the breadth of the question. Instead, kaleidoscopes of opinions that span centuries from Napoleon’s reign to contemporary research give us the best analysis of his ambitions. No matter the era, historian’s opinions of Napoleon shift between admiring his achievements, in varying contexts of establishing order or reorganizing governmental systems, to criticizing his personal lust for power. This essay will discuss the varying opinions by which historians view Napoleon I, Emperor of the French, and his fundamental objective as ruler.

Now Jonathon Brown thinks the setting and characters do not have much importance on what the painting really means. Of course, he says that the painting is to show respect to the Court and the King and Queen and show just how important they but this cannot tell us much about the painting itself. The painting is to show the artist himself as noble as the people of the court as well. It’s trying to depict a picture that shows the value of the artist himself “royal epiphany” (Brown, 92) all