croyez-vous que les grands hommes de l'Antiquité dont nous avons les images aient posé ? 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. 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. Mona : Et l’autre. The inclusion of Charlemagne and the "IMP" (signifying Imperator, i.e. However, the people of Milan refused to give it up and it remained in the city until 1825. 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 … Le peintre va sûrement pas le montrer se cassant la figure ; Napoléon aurait vite fait de le virer ! Nabi : Dis donc il savait drôlement bien faire du cheval !! It is now held in the Charlottenburg Palace in Berlin. [5]. 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. The embroidery and the style of the bicorne suggest that the picture was completed after 1804. 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]. La peinture est inspirée de l'œuvre de Jacques-Louis David Bonaparte franchissant le Grand-Saint-Bernard (18011803), où David montre aussi Napoléon traversant le col du Grand-Saint-Bernard, mais présentant des différences significatives entre les deux conceptions du même sujet. Auteur!:PaulDelaroche! Jourquin J. – Les cinq tableaux de Bonaparte franchissant les Alpes au Grand-Saint-Bernard – Le Souvenir Napoléonien n° 392, décembre 1993. The cloak is orange-red, the collar is black, and the embroidery of the gauntlet is very simple and almost unnoticeable. 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. Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. La principale différence entre les deux versions du Louvre et de la Walker Art Gallery se situe à gauche de l'œuvre. His figure of Bonaparte is heroic and idealized but it lacks the concrete symbols of allegorical painting. The installation of Napoleon as First Consul and the French victory in Italy allowed for a rapprochement with Charles IV of Spain. Wiley aimed to confront and critique historical traditions to acknowledge Black culture. 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 s’inspire du tableau de David mais choisit d’illustrer le génie de Bonaparte de manière réaliste, sans complaisance, dans le pur style romantique. 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 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 — A resemblance? 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. 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. For what good? The landscape is darker and Napoleon's expression is sterner. jacques-louis david 1803. introduction de l'oeuvre et de l'artiste. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo. 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 embroidery of the gauntlet is simplified with the facing of the sleeve visible under the glove. 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. It isn't the exactness of the features, a wart on the nose which gives the resemblance. Napoleon's face appears youthful. 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. 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. 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. The girth is red. On the breastplate yoke of the horse, the picture is signed and dated.[3]. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. In The Death of Marat, the dying revolutionary holds a page with the name of his assassin, Charlotte Corday. Primaire Ce1 Enseignements artistiques Arts plastiques « Bonaparte franchissant les Alpes au Grand-Saint-Bernard », de Jacques-Louis David Ce1 Enseignements artistiques Arts plastiques « Bonaparte The version kept by David until his death in 1825 was exhibited at the Bazar Bonne-Nouvelle [fr] in 1846 (where it was remarked upon by Baudelaire). David chose symbolism rather than allegory. Il est coiffé d'un bicorne de feutre noir galloné d'or. Charlottenburg. [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 tack is simpler, lacking the martingale, and the girth is grey-blue. François Gerard, a former pupil of David, posed for the hand. 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. 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]. Bonaparte franchissant les alpes. 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. Cependant cette version des faits est erronée car aucune version du portrait de David n'était accrochée au musée du Louvre depuis 1802, date où les versions de Malmaison et de Berlin furent exposées avec Les Sabines. Retour sous 100 … Genre(:Peintureàl’huilesurtoile!Localisation!Musée!du!Louvre,!Paris! 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. The bare rather than gloved hand may indicate Napoleon desiring to appear as a peacemaker rather than a conqueror. 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. Critiquant le caractère allégorique et irréaliste de la scène George Onslow aurait passé commande au peintre d'un tableau sur le même sujet, traité de manière réaliste[1]. — Mais citoyen premier consul je vous peins pour votre siècle, pour des hommes qui vous ont vu, qui vous connaissent, ils voudront vous trouver ressemblant. The uniform is more accurate, however, as David was able to borrow the uniform and bicorne worn by Bonaparte at Marengo. Versailles 1. 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. — Poser ? In 1979, it was given to the museum at the Palace of Versailles. No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of Théodore Géricault's The Charging Chasseur of 1812. Le Premier Consul franchissant les Alpes au col du Grand-Saint-Bernard. 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. The picture is not dated but is signed L.DAVID. Bonaparte franchissant les Alpes de Paul Delaroche, 1848, Muzeul Luvru Prin traversarea Alpilor de către armata de rezervă la 13 mai 1800 intervine Napoleon în cea de-a doua campanie din Italia declanșată … Dark clouds hang over the picture and in front of Bonaparte the mountains rise up sharply. 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… modifier - modifier le code - modifier Wikidata. À l'instar de l'œuvre de David, la toile de Delaroche a été largement reproduite. In the foreground BONAPARTE, HANNIBAL and KAROLVS MAGNVS IMP. à quoi bon ? Jacques Louis David, Bonaparte franchissant le Grand Saint-Bernard, 20 mai 1800, huile sur toile, 1802, château de Versailles. Celui-ci est conduit par un guide, qui gravit le col en s'aidant d'une canne. Une copie par Georges Rouget était aussi visible à la bibliothèque des Invalides. Bonaparte franchissant les Alpes au Grand-Saint-Bernard - 1800. The original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. L'autre élément est la différence de forme des rochers du premier plan. BonapartefranchissantlesAlpes! The officer holding a sabre in the background is obscured by the horse's tail. 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 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. 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. Le Premier consul Bonaparte franchissant les Alpes au col du Grand Saint Bernard, Jacques-Louis David (1801) [2] [3] La pintura muestra a Bonaparte montado en una mula, guiando a su ejército a través de los Alpes… jacques-louis david 1800 - 1803. l'oeuvre. In 2005, Artist, Kehinde Wiley, imitated the original painting of Jacques-Louis David by transforming the traditional portrait into a contemporary version of Napoleon. Pierre Delaroche, Bonaparte franchissant les Alpes en 1800, 1848, musée du Louvre La plupa t des douments sont ext aits du manuel Hatie utilisé au ollège et du site Histoie pa l’image. 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. By the time Napoleon's troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. Versailles 2. Bonaparte franchissant les Alpes est une représentation de Napoléon Bonaparte peinte entre 1848–1850, par le peintre français Paul Delaroche.La peinture montre Bonaparte à la tête de son armée traversant les Alpes sur une mule, au printemps 1800, dans le but de surprendre l'armée autrichienne en Italie.. La peinture est inspiré de l'œuvre de Jacques-Louis David Bonaparte … 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. Ainsi Bonaparte nous apparaît chevauchant un mulet vêtu d’une simple redingote … Ainsi magnifié, il nous indique la voie à suivre : celle de la réussite, celle des défis à relever et des ennemis à pourfendre. 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. A fifth version was produced by David and remained in his various workshops until his death. Conditions générales de vente Protection des données Mentions légales. Paul Delaroche, Bonaparte franchissant les Alpes, 1850″ On est d’accord, c’est tout de suite moins héroïque. It was finally installed at the Belvedere in Vienna in 1834. 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. Inédit : Frédéric Lacaille conservateur décrypte le tableau « Bonaparte franchissant le Grand Saint Bernard » chef d’oeuvre du peintre Jacques-Louis David # ensembleàlamaison # Culturecheznous. The 1803 version was delivered to Milan but confiscated in 1816 by the Austrians. Le décor est constitué de montagnes et de rochers enneigés. Avec une grande audace, Bonaparte joua la surprise en franchissant un col réputé peu praticable au printemps. Napoleon's features are sunken with the faint hint of a smile. 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. Resté dans la collection de la famille jusqu'en 1967, il est mis en vente chez Christie's en 1968 et en 1971. The painting is signed in the yoke of the breastplate: L. DAVID YEAR IX. In Napoleon Crossing the Alps, the gesture leaves no doubt as to the will of the commander to arrive to his goal. Ceux-ci, membres de la deuxième coalition formée pour combattre la France républicaine, étaient en position de force en Italie. Contents. 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. 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. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles' behalf. Series of paintings by Jacques-Louis David, This article is about the painting by Jacques-Louis David. 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. His head is turned towards the viewer, and he gestures with his right hand toward the mountain summit. 1 1. 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. 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. Bonaparte franchissant les Alpes est un tableau peint en 1848 par le peintre français Paul Delaroche. The girth around the horse's belly is a dark faded red. Version: Château de la Malmaison, January 1800/1, 260 × 221 cm, M.M.49.7.1, commissioned by Charles IV of Spain; 2 2. All five versions of the picture are of roughly the same large size (2.6 ± 2.2 m). Ce tableau fut peint pendant l'automne et l'hiver 1800 pour le roi d'Espagne . 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. 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. Initially commissioned by the King of Spain, the compositio… The youthful posture of David's son, forced into posing for the artist by Bonaparte's refusal to sit, is evident in the attitude of the Napoleon portrayed in the painting; with his legs folded like the Greek riders, the youthful figure evokes the young Alexander the Great mounted on Bucephalus as seen on his sarcophagus (now in the archaeological museum of Istanbul). 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. Version Schloss Charlottenburg, 1801, 260 × 226 cm, GK I 913, commissioned … En mai 1800, alors que les armées autrichiennes assiè… 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]. technique: huile sur toile . 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. 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. 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. 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. Napoleon's features are older, he has shorter hair, and—as in the Charlottenburg version—there is the faint trace of a smile. La peinture est inspirée de l'œuvre de Jacques-Louis David Bonaparte franchissant le Grand-Saint-Bernard (1801–1803), où David montre aussi Napoléon traversant le col du Grand-Saint-Bernard, mais présentant des différences significatives entre les deux conceptions du même sujet. À l'époque du tableau de Delaroche, seulement deux versions autographes du portrait équestre de David étaient en France, celle de Versailles accrochée au palais depuis 1837, et l'exemplaire appartenant à la famille du peintre, dans la collection privée de la baronne Jeanin fille de David (donné à Napoléon III en 1850, aujourd'hui à Versailles depuis 1979). Künzi F. – Bonaparte, Bicentenaire du passage des Alpes 1800-2000 – Fondation Pierre Gianadda, Martigny, 2000. Emperor) raises doubts as to the level of Bonaparte's involvement with the addition of the inscriptions. With this work David took the genre of the equestrian portraiture to its zenith. He is wreathed in the folds of a large cloak which billows in the wind. 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 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. There is however, the possibility that it was just an indication of Charlemagne's status as emperor of the Holy Roman Empire. 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. 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. Feb 2, 2017 - Jacques Louis David, Bonaparte franchissant le Grand-Saint-Bernard (château de Versailles) probable version vu par Delaroche et qui était alors exposée à Paris dans les années 1846. Le tableau appartient ensuite à la collection de M. et Mme. 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. 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. [1] His left hand grips the reins of his steed. 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. Birkhauser qui en font don au Louvre par l'intermédiaire de la Lutèce Fondation et du Metropolitan Museum of Art en 1982.