Jourquin J. – Les cinq tableaux de Bonaparte franchissant les Alpes au Grand-Saint-Bernard – Le Souvenir Napoléonien n° 392, décembre 1993. He took it with him when he went into exile in the United States, and it hung at his Point Breeze estate near Bordentown, New Jersey. It remains there today, now part of the collection of the Österreichische Galerie Belvedere. The raised hands of the Oath of the Horatii, the Tennis Court Oath or The Distribution of the Eagles are rhetorical devices making pleading manifest in the paintings. Series of paintings by Jacques-Louis David, This article is about the painting by Jacques-Louis David. Bonaparte franchissant le Grand-Saint-Bernard, Département des peintures du musée du Louvre, https://fr.wikipedia.org/w/index.php?title=Bonaparte_franchissant_les_Alpes&oldid=164379981, Collection de peintures françaises du Louvre, Page pointant vers des bases relatives aux beaux-arts, Portail:Époque contemporaine/Articles liés, Portail:France au XIXe siècle/Articles liés, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. La toile du Louvre est signée et datée en bas à gauche Paul Delaroche, 1848, celle de Liverpool Paul Delaroche, Nice 1850. Paul Delaroche, Bonaparte franchissant les Alpes, 1850″ On est d’accord, c’est tout de suite moins héroïque. Un article de Wikipédia, l'encyclopédie libre. In return Napoleon was offered sixteen Spanish horses from the royal stables, portraits of the king and queen by Goya, and the portrait that was to be commissioned from David. All five versions of the picture are of roughly the same large size (2.6 ± 2.2 m). : document utilisé comme source pour la rédaction de cet article. Auteur!:PaulDelaroche! Genre(:Peintureàl’huilesurtoile!Localisation!Musée!du!Louvre,!Paris! bonaparte franchissant les alpes. La peinture fut critiquée par plusieurs spécialistes de la question sur le réalisme de la scène. Presse Vente de motifs. It is now held in the Charlottenburg Palace in Berlin. Tous les trois ont en effet accompli l’exploit de traverser les Alpes avec leurs armées. La peinture représente Napoléon Bonaparte à la tête de son armée traversant les Alpes sur une mule, au printemps 1800, lors de la seconde campagne d'Italie. Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is any of five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. In background a line of the soldiers interspersed with artillery make their way up the mountain. It was finally installed at the Belvedere in Vienna in 1834. In 1979, it was given to the museum at the Palace of Versailles. Le décor est constitué de montagnes et de rochers enneigés. The commission specified a portrait of Napoleon standing in the uniform of the First Consul, probably in the spirit of the portraits that were later produced by Antoine-Jean Gros, Robert Lefèvre (Napoleon in his coronation robes) and Jean Auguste Dominique Ingres (Napoleon I on his Imperial Throne), but David was keen to paint an equestrian scene. The lack of early studies may in part be explained by Bonaparte's refusal to sit for the portrait. longtemps considéré comme l'exemplaire original, à cause d'une confusion de Delaborde et Goddé dans le catalogue de l'œuvre de Delaroche publié en 1858, il s'agit en fait d'une seconde version comme le montre la date mentionné sur le tableau Paul Delaroche, Nice 1850. modifier - modifier le code - modifier Wikidata. [4] It does not indicate the summit, but rather shows the observer the inevitability of victory and at the same time orders his soldiers to follow. The original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. La date 1848 peinte sur la toile a démontré qu'il s'agissait de l'original. David had also managed to persuade him to sit for a portrait in 1798, but the three hours that the fidgety and impatient Bonaparte had granted him did not give him sufficient time to produce a decent likeness. Bonaparte franchissant les Alpes de Jacques-Louis David. Dark clouds hang over the picture and in front of Bonaparte the mountains rise up sharply. The refusal to attend a sitting marked a break in the portraiture of Napoleon in general, with realism abandoned for political iconography: after this point the portraits become emblematic, capturing an ideal rather than a physical likeness. The picture is not signed. Il est vêtu d'un uniforme d'officier général recouvert par une redingote grise, il porte une culotte de peau blanche et des bottes à l'écuyère. dimensions: 2,70 x 2,32. lieu de conservation: chateau des versailles , galeries historiques. The horse rears up on its back legs, its mane and tail whipped against its body by the same wind that inflates Napoleon's cloak. The officer holding a sabre in the background is obscured by the horse's tail. Engravings from Voyage pittoresque de la Suisse served as models for the landscape. Bonaparte cruzando los Alpes (también llamado Napoleón cruzando los Alpes, a pesar de la existencia de otra pintura con ese nombre) es una pintura al óleo de 1848-1850 que retrata a Napoleón Bonaparte, [1] realizada por el artista francés Paul Delaroche. The girth around the horse's belly is a dark faded red. The painting was handed down through his descendants until 1949, when his great grandniece, Eugenie Bonaparte, bequeathed it to the museum of the Château de Malmaison. His head is turned towards the viewer, and he gestures with his right hand toward the mountain summit. The first of the five portraits was painted in four months, from October 1800 to January 1801. On learning of the request, Bonaparte instructed David to produce three further versions: one for the Château de Saint-Cloud, one for the library of Les Invalides, and a third for the palace of the Cisalpine Republic in Milan. ... tout en tendant le doigt vers les Alpes, et plus symboliquement, vers les hauteurs et la grandeur. Primaire Ce1 Enseignements artistiques Arts plastiques « Bonaparte franchissant les Alpes au Grand-Saint-Bernard », de Jacques-Louis David Ce1 Enseignements artistiques Arts plastiques « Bonaparte […] Personne ne s'informe si les portraits des grands hommes sont ressemblants, il suffit que leur génie y vive. La peinture représente Napoléon Bonaparte à la tête de son armée traversant les Alpessur une mule, au printemps 1800, lors de la seconde campagne d'Italie. Tableau original du Louvre, peint en 1848, vendu aux États-Unis, acheteur inconnu, racheté par le collectionneur John Naylor en août 1853 pour 1 750 livres. Wiley aimed to confront and critique historical traditions to acknowledge Black culture. For what good? Bonaparte franchissant les Alpes est un tableau peint en 1848 par le peintre français Paul Delaroche. The installation of Napoleon as First Consul and the French victory in Italy allowed for a rapprochement with Charles IV of Spain. The uniform is more accurate, however, as David was able to borrow the uniform and bicorne worn by Bonaparte at Marengo. While Delaroche's painting is more realistic than the symbolic heroic representation of David, it was not meant to be demeaning - Delaroche admired Bonaparte and thought that the achievement was not diminished by depicting it in a realistic fashion. Retour sous 100 … Les tailles sont sensiblement différentes : le tableau du Louvre mesure 2,89 sur 2,22 m et celui de Liverpool mesure 2,79 sur 2,14 m. Selon un récit provenant de la famille d'Arthur George, troisième comte d'Onslow et propriétaire de la seconde version signée de 1850 accrochée depuis à la Walker Art Gallery de Liverpool, l'origine de la commande fut motivée après que le comte et Paul Delaroche ont vu une version du tableau de David Bonaparte franchissant le Grand-Saint-Bernard au Louvre. The embroidery and the style of the bicorne suggest that the picture was completed after 1804. Charles received Versailles-manufactured pistols, dresses from the best Parisian dressmakers, jewels for the queen, and a fine set of armour for the newly reappointed Prime Minister, Manuel Godoy. Le tableau Bonaparte franchissant les Alpes en 1800 a été peint en 1848 par Paul Delaroche. Jacques Louis David (1801). In the foreground BONAPARTE, HANNIBAL and KAROLVS MAGNVS IMP. technique: huile sur toile . Inédit : Frédéric Lacaille conservateur décrypte le tableau « Bonaparte franchissant le Grand Saint Bernard » chef d’oeuvre du peintre Jacques-Louis David # ensembleàlamaison # Culturecheznous. Having taken power in France during the 18 Brumaire on 9 November 1799, Napoleon was determined to return to Italy to reinforce the French troops in the country and retake the territory seized by the Austrians in the preceding years. La dernière modification de cette page a été faite le 10 novembre 2019 à 18:35. Birkhauser qui en font don au Louvre par l'intermédiaire de la Lutèce Fondation et du Metropolitan Museum of Art en 1982. Il existe cinq versions de l'œuvre, l'exemplaire daté de 1848 exposé au Louvre est considéré comme le premier original, une deuxième version datée à Nice en 1850, appartient à la Walker Art Gallery de Liverpool et a longtemps été considérée à tort comme la première version. Paul Delaroche (1848 ). The picture is not dated but is signed L.DAVID. The officer with the sabre is again masked by the tail of the horse. The inclusion of Charlemagne and the "IMP" (signifying Imperator, i.e. It quickly became the most reproduced image of Napoleon. Napoleon's features are older, he has shorter hair, and—as in the Charlottenburg version—there is the faint trace of a smile. Lors de sa réception à Londres, les critiques anglais ont estimé que Delaroche avait échoué dans sa tentative de traduire le génie de Napoléon par des moyens réalistes. In The Death of Marat, the dying revolutionary holds a page with the name of his assassin, Charlotte Corday. The picture is signed L.DAVID YEAR IX. La peinture représente Napoléon Bonaparte à la tête de son armée traversant les Alpes sur une mule, au printemps 1800, lors de la seconde … Bonaparte cruzando os Alpes Bonaparte franchissant les Alpes; Autor Paul Delaroche: Data 1848: Técnica óleo sobre tela: Dimensões 279,4 × 214,5 Il renouait avec l’exploit des grands capitaines du passé, dont les noms sont inscrits dans la roche aux pieds du cheval, Hannibal, passant les Alpes avec ses éléphants en 218 lors de la Deuxième Guerre punique, et … David le répéta pour le premier consul.. The horses of the Greek statuary which appear many times in David's notebooks point to the bas-reliefs of the Parthenon as a source of inspiration. The 1802 copy from Les Invalides was taken down and put into storage on the Bourbon Restoration of 1814; but in 1837, under the orders of Louis-Philippe, it was rehung in his newly declared museum at the Palace of Versailles, where it remains to the present day. L'autre élément est la différence de forme des rochers du premier plan. Gros, David's pupil, produced a small oil sketch of a horse being reined in, which was a probable study for Napoleon's mount, and the notebooks of David show some sketches of first thoughts on the position of the rider. Versailles 2. Bonaparte franchissant les Alpes est un tableau peint en 1848 par le peintre français Paul Delaroche. titre: bonaparte franchissant le grand-saint-bernard. In reality the crossing had been made in fine weather and Bonaparte had been led across by a guide a few days after the troops, mounted on a mule. Poster Bonaparte franchissant le Grand-Saint-Bernard dès 6,95 € Poster Le Sacre de Napoléon ... Poster Napoléon traverse les Alpes dès 5,95 € Posterlounge À propos Notre équipe Collections. Là où le Bonaparte de David est idéalisé à la manière d'un héros antique, celui de Delaroche est représenté de manière réaliste et sans complaisance, dans un style romantique qui était en vogue à l'époque. L'exemplaire de George Onslow est en fait la deuxième version de l'œuvre et non l'original. Il enfourche une mule, sa main droite est glissée sous son uniforme, sa main gauche est posée sur le pommeau de la selle. (1797-1856) exécute une autre version de Bonaparte franchissant les Alpes (musée du Louvre). In The Death of Socrates, the philosopher—on the point of drinking hemlock—continues teaching his disciples with a gesture of reprimand at their emotional displays. Ce n'est pas l'exactitude des traits, un petit pois sur le nez qui font la ressemblance. John Everett Millais also used the image to contrast David's theatrical rhetoric with a naturalistic scenario in his painting The Black Brunswicker, in which a print of the painting hangs on the wall of a room in which one of the Brunswickers who fought at the Battle of Quatre Bras prepares to leave his sweetheart to join the fight against Napoleon. Charlottenburg. Dans ce tableau, David met en scène un épisode fameux de la seconde campagne d’Italie (1799-1800) menée par Bonaparte, Premier consul, contre les Autrichiens. Christophe Henry, « Bonaparte franchissant les Alpes au Grand-Saint-Bernard : Matériaux et principes d'une icône politique », dans Daniel Roche, Le Cheval et la guerre : du XV e au XX e siècle, Association pour l'Académie d'art équestre de Versailles, 2002 (ISBN 2-913018-02-5), p. 347-365 Napoleón cruzando los Alpes (también conocido como Napoleón en el paso de San Bernardo, Bonaparte cruzando los Alpes, Retrato ecuestre de Bonaparte en el monte Saint-Bernard) es el título de cinco versiones de un retrato ecuestre pintado al óleo sobre lienzo de Napoleón Bonaparte, realizadas por el artista francés … Bonaparte franchissant le Grand-Saint-Bernard, Jacques-Louis David, vers1800. For the horse, David takes as a starting point the equestrian statue of Peter the Great, "The Bronze Horseman" by Étienne Maurice Falconet in Saint Petersburg, duplicating the calm handling of a rearing horse on rocky ground. The 1803 version was delivered to Milan but confiscated in 1816 by the Austrians. On completion of the initial version, David immediately began work on the second version which was finished on 25 May, the date of Bonaparte's inspection of the portraits at David's Louvre workshop. Il s’inspire du tableau de David mais choisit d’illustrer le génie de Bonaparte de manière réaliste, sans complaisance, dans le pur style romantique. In contrast to his predecessors François Boucher and Jean-Honoré Fragonard, who employed a red or grey undercoat as a base colour on which to build up the painting, David employed the white background of the canvas directly underneath his colours, as some of his unfinished works show, such as his first attempt at a portrait of Bonaparte or his sketch of the Tennis Court Oath. Ceux-ci, membres de la deuxième coalition formée pour combattre la France républicaine, étaient en position de force en Italie. Contents. David, who had been an ardent supporter of the Revolution but had transferred his fervour to the new Consulate, was eager to undertake the commission. The first two copies were exhibited in the Louvre in June 1801 alongside The Intervention of the Sabine Women, and although there was an outcry in the press over the purchase, the painting quickly became well known as a result of the numerous reproductions that were produced, the image appearing everywhere from posters to postage stamps. La toile, de grande dimension (celle du Louvre mesure 2,89 m sur 2,22 m, soit un peu plus grande que la version de David), représente Napoléon Bonaparte, alors premier consul, en train de traverser un col des Alpes. David chose symbolism rather than allegory. Celui-ci est conduit par un guide, qui gravit le col en s'aidant d'une canne. Initialement intitulée Tableau-portrait équestre du Premier Consul, représenté dans le moment où il passe les Alpes au mont Saint-Bernard le 30 floréal an VIII (aussi nommé dans ses différentes versions : Le Premier Consul franchissant les Alpes au col du Grand-Saint-Bernard, Napoléon passant le mont Saint-Bernard, Bonaparte … The horse from the first version is almost identical in posture and colouring to one featured in the melee of The Intervention of the Sabine Women. Le Premier consul Bonaparte franchissant les Alpes au col du Grand Saint Bernard, Jacques-Louis David (1801) In this picture, the rocks bear the names of Hannibal and Charlemagne alongside Bonaparte, linking them by their crossing of the Alps, and portraying Napoleon as their successor. En mai 1800, alors que les armées autrichiennes assiè… By the time Napoleon's troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. Bonaparte franchissant les alpes Bonaparte franchissant les Alpes — Wikipédi . With this work David took the genre of the equestrian portraiture to its zenith. The version produced for the Château de Saint-Cloud from 1801 was removed in 1814 by the Prussian soldiers under von Blücher who offered it to Frederick William III King of Prussia. In 2005, Artist, Kehinde Wiley, imitated the original painting of Jacques-Louis David by transforming the traditional portrait into a contemporary version of Napoleon. On accepting the commission for the Alpine scene, it appears that David expected that he would be sitting for the study, but Bonaparte refused point blank, not only on the basis that he disliked sitting but also because he believed that the painting should be a representation of his character rather than his physical appearance: — Sit? — Poser ? Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is any of five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. The Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the trans-Alpine route. For the painting by Paul Delaroche, see, For another example of David's inclusion of the signature and date as part of the painting see. Toiles comparées : Bonaparte Franchissant les Alpes. Version Schloss Charlottenburg, 1801, 260 × 226 cm, GK I 913, commissioned … us. Bonaparte franchissant les Alpes est un tableau peint en 1848 par le peintre français Paul Delaroche. Mais Paul Delaroche a proposé une représentation bien plus réaliste de ce qu’à pu être la traversée des Alpes de Napoléon. The youthful figure of Bonaparte in the initial painting reflects the aesthetic of the "beautiful ideal" symbolized by the "Apollo Belvedere" and taken to its zenith in The Death of Hyacinthos by Jean Broc, one of David's pupils. With Bonaparte's exile in 1815 the portraits fell out of fashion, but by the late 1830s they were once again being hung in the art galleries and museums. Christophe Henry, « Bonaparte franchissant les Alpes au Grand-Saint-Bernard : Matériaux et principes d'une icône politique », dans Daniel Roche, Le Cheval et la guerre : du XVe au XXe siècle, Association pour l'Académie d'art équestre de Versailles,‎ 2002 (ISBN 2-913018-02-5), p. 347-365 The painting is signed in the yoke of the breastplate: L. DAVID YEAR IX. Version: Château de la Malmaison, January 1800/1, 260 × 221 cm, M.M.49.7.1, commissioned by Charles IV of Spain; 2 2. No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of Théodore Géricault's The Charging Chasseur of 1812. Proposé par : Gérard 26 septembre 2006 à 12:37 (CEST){{{4}}} Cet article a, selon moi, les qualités nécessaires à devenir un AdQ. Unable to convince Napoleon to sit for the picture, David took a bust as a starting point for his features, and made his son perch on top of a ladder as a model for the posture. [2] [3] La pintura muestra a Bonaparte montado en una mula, guiando a su ejército a través de los Alpes… Il se peut qu'il s'agisse de l'exemplaire appartenant à la fille de David qui était exposé au Bazar Bonne-Nouvelle en 1846 que Delaroche ait vu alors qu'il exposait lui aussi trois toiles, pour cette même exposition[2]. Le Premier Consul franchissant les Alpes au col du Grand-Saint-Bernard Lorsqu’on visite le musée national du Château de la Malmaison, on ne peut manquer de tomber en arrêt devant le chef - d’œuvre du peintre Louis David intitulé «Bonaparte franchissant le Grand-Saint-Bernard». After having captured the basic outline with an ochre drawing, he would flesh out the painting with light touches, using a brush with little paint, and concentrating on the blocks of light and shade rather than the details. Son visage est impassible et son regard dirigé vers le spectateur. Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. Napoleon Leading the Army Over the Alps (Kehinde Wiley), The Destruction of the Temple of Jerusalem, https://www.brooklynmuseum.org/opencollection/objects/169803, Diana and Apollo Killing Niobe's Children, Erasistratus Discovering the Cause of Antiochus' Disease, Saint Jerome Hears the Trumpet of the Last Judgment, Saint Roch Interceding with the Virgin for the Plague-Stricken, Portrait of Antoine-Laurent Lavoisier and his wife, The Lictors Bring to Brutus the Bodies of His Sons, Portrait of comte Antoine Français de Nantes, https://en.wikipedia.org/w/index.php?title=Napoleon_Crossing_the_Alps&oldid=996917283, Short description is different from Wikidata, Articles with French-language sources (fr), Creative Commons Attribution-ShareAlike License, This page was last edited on 29 December 2020, at 04:55. À l'arrière plan à gauche on perçoit un officier maintenant de sa main son chapeau. Nabi : Dis donc il savait drôlement bien faire du cheval !! Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800. La principale différence entre les deux versions du Louvre et de la Walker Art Gallery se situe à gauche de l'œuvre. Do you think that the great men of Antiquity for whom we have images sat? In the spring of 1800 he led the Reserve Army across the Alps through the Great St. Bernard Pass. A fifth version was produced by David and remained in his various workshops until his death. His figure of Bonaparte is heroic and idealized but it lacks the concrete symbols of allegorical painting. are engraved on rocks. On the breastplate yoke of the horse, the picture is signed and dated.[3]. Napoleon's features are sunken with the faint hint of a smile. [5]. The results of this technique are particularly noticeable in the original version of Napoleon Crossing the Alps from Malmaison, especially in the treatment of the rump of the horse. In the original version held at Malmaison (260 × 221 cm; 102​1⁄3 × 87 in), Bonaparte has an orange cloak, the crispin (cuff) of his gauntlet is embroidered, the horse is piebald, black and white, and the tack is complete and includes a Running Martingale. Ainsi Bonaparte nous apparaît chevauchant un mulet vêtu d’une simple redingote … The gesture is omnipresent in David's painting, from St. Roch Interceding with the Virgin for the Plague Stricken to Mars disarmed by Venus and the Graces. François Gerard, a former pupil of David, posed for the hand. Two of David's pupils assisted him in producing the different versions: Jérôme-Martin Langlois worked primarily on the first two portraits, and George Rouget produced the copy for Les Invalides. Le 2 mars 1796, quelques mois après son entrée en fonction, le Directoire confie à Bonaparte le commandement de la campagne d’Italie contre les forces autrichiennes. — Ressemblant ? It isn't the exactness of the features, a wart on the nose which gives the resemblance. The landscape is darker and Napoleon's expression is sterner. Il représente Napoléon sur une mule,un jeune garçons pourrais portés un regard négatif sur Napoléon car à l'inverse de d'habitude l'empeureur n'est pas représenté sous son meilleur profil, il n'est pas glorieux,fiére ou encore en quête … David uses inscriptions to reinforce the symbolism in eight of his known works: Bélisaire asking for Alms, Andromache Mourning Hector, The Death of Marat, The Furrier of Saint-Fargeau (lost), Napoleon Crossing the Alps, Sappho and Phaon, Napoleon in his Study, and Leonidas at Thermopylae. Il est coiffé d'un bicorne de feutre noir galloné d'or. Bonaparte franchissant les alpes. The embroidery of the gauntlet is simplified with the facing of the sleeve visible under the glove. The figure of the beautiful young man which David had already painted in La Mort du jeune Bara is also present in The Intervention of the Sabine Women. In 1850 it was offered to the future Napoleon III by David's daughter, Pauline Jeanin, and installed at the Tuileries Palace. David worked using two or three layers. à quoi bon ? — A resemblance? Bonaparte franchissant les Alpes Paul Delaroche, 1850 I. Fiche d’identité * Nature de l’œuvre : huile sur toile * Date: réalisée entre 1848 et 1850 * Artiste : Paul Delaroche (1797-1856) Professeur aux Beaux-arts et peintre parmi les plus réputés de son siècle, il fut par ailleurs l’initiateur de l’anecdote historique, genre à … He had sat for Gros in 1796 on the insistence of Joséphine de Beauharnais, but Gros had complained that he had not had enough time for the sitting to be of benefit. After Napoleon's rise to power and the victory at Marengo, the fashion was for allegorical portraits of Bonaparte, glorifying the new Master of France, such as Antoine-François Callet's Allegory of the Battle of Marengo, featuring Bonaparte dressed in Roman costume and flanked by winged symbols of victory, and Pierre Paul Prud'hon's Triumph of Bonaparte, featuring the First Consul in a chariot accompanied by winged figures. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. The third and last layer was used for finishing touches: blending of tones and smoothing the surface. Emperor) raises doubts as to the level of Bonaparte's involvement with the addition of the inscriptions. It is the character that dictates what must be painted...Nobody knows if the portraits of the great men resemble them, it is enough that their genius lives there.[2]. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo. Initially commissioned by the King of Spain, the compositio… Faithful to his desire for a "return to the pure Greek" (retour vers le grec pur), David applied the radical neo-classicism that he had demonstrated in his 1799 The Intervention of the Sabine Women to the portrait of Bonaparte, with the use of contemporary costumes the only concession. Jacques Louis David, Bonaparte franchissant le Grand Saint-Bernard, 20 mai 1800, huile sur toile, 1802, château de Versailles. Ce tableau fut peint pendant l'automne et l'hiver 1800 pour le roi d'Espagne . Paul Delaroche (1797-1856) Napoléon Bonaparte franchissant les Alpes au col du Grand-Saint-Bernard en 1800 1848 Huile sur toile Paris, musée du Louvre croyez-vous que les grands hommes de l'Antiquité dont nous avons les images aient posé ? Bonaparte franchissant les Alpes au Grand-Saint-Bernard - 1800. The girth is red. Il existe cinq versions de l'œuvre, l'exemplaire daté de 1848 exposé au Louvre est considéré comme le premier original, une deuxième version datée à Nice en 185… Versailles 1. Le général carthaginois et l’empereur d’occident de la dynastie des Carolingiens viennent donc se lier au destin de Napoléon. Few drafts and preparatory studies were made, contrary to David's normal practice. Vos avantages. Mona : Et l’autre. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles' behalf. T’as vu comme il se cabre, il tombe même pas et y se tient que d’une main. En 1850, date de réalisation du second exemplaire, le tableau original du Louvre était déjà peint depuis 1848 et se trouvait aux États-Unis avant de devenir en 1853 la propriété d'un autre collectionneur anglais, John Naylor[3]. Arthur George, 3rd Earl of Onslow, who had a large Napoleonic collection, was visiting the Louvre with Paul Delaroche in 1848 and commented on the implausibility and theatricality of David's painting. Künzi F. – Bonaparte, Bicentenaire du passage des Alpes 1800-2000 – Fondation Pierre Gianadda, Martigny, 2000. The Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. Two of Napoleon's horses were used as models for the "fiery steed": the mare "la Belle" which features in the version held at Charlottenburg, and the famous grey Marengo which appears in those held at Versailles and Vienna. The Charlottenburg version (260 × 226 cm; 102​1⁄3 × 89 in) shows Napoleon in a red cloak mounted on a chestnut horse. Napoleon's face appears youthful. [1] However, from the outset the painting was first and foremost propaganda, and Bonaparte asked David to portray him "calm, mounted on a fiery steed" (Calme sur un cheval fougueux), and it is probable that he also suggested the addition of the names of the other great generals who had led their forces across the Alps: Hannibal and Charlemagne.