Bridge baron totally bridge11/14/2022 ![]() The picture's message is clear: the military leader is also a powerful statesman, administrator and legislator, whose capacity for work is unparalleled.ĭavid, Jacques Louis (1748-1825) The First Consul crossing the Alps at the Grand-Saint-Bernard pass Musée National du Château de Malmaisonįirst Consul Without a doubt the most famous painting of the Napoleonic legend. Dawn is rising and the emperor is preparing to go and review his troops. BRIDGE BARON TOTALLY BRIDGE CODEThe candles are burned down, the clock shows four in the morning, his pen and paper are thrown down on the desk, everything is designed to imply that he has just spent all night working on the Code Civil. He is in the trademark stance, his right hand is thrust inside his waistcoat. Napoleon is wearing the blue uniform (with white lapels) of a Colonel of the Grenadiers à pied de la Garde, normally worn on Sundays, the green Chasseurs à cheval uniform being for daily use. The multi-tasker Totally unlike traditional portraits of sovereigns in their robes of state, this standing portrait is a realist allegory of the emperor's civilian activities. This evocation of divine power in a scene in the Holy Land perfectly expresses the dynasty's desires for legitimacy.ĭavid, Jacques Louis (1748-1825) Napoleon in his study in the Tuileries Palace Washington, National Gallery of Art By touching the plague victims with complete disregard for the disease, Bonaparte sets himself alongside the kings who wrought miracles, whose touch could heal scrofula, who interceded between god and mankind. Painted and exhibited in 1804, coinciding exactly with the creation of the Empire, this propaganda work takes on another dimension. Suppressing the rumors This masterpiece, a precursor of Romanticism, was commissioned by Napoléon in an attempt to quash rumors that he had poisoned French troops suffering from the plague during the Syrian campaign. Gros, Antoine-Jean (Baron) (1771-1835) Bonaparte visiting the plague victims of Jaffa, 11 March, 1799 Paris, Musée du Louvre What Gros highlights is the image of Bonaparte as the providential saviour, the conquering hero who leads his troops, sabre in hand, seizing victory through his bravery alone. Gros had in fact been present at the Battle of Arcole, and thanks to the intervention of Josephine, he managed to get Bonaparte in Milan to sit for him several times. Drive, courage, overpowering will pour out of this edgy yet passionate picture. Here the artist glorifies the episode and makes it part of the legend. In reality, Arcole bridge was not crossed. Young Napoleon The first emblematic image of the Napoleonic myth, this painting exalts the virtues of the military leader, as embodied by the young General Bonaparte at the head of the Armée d'Italie. Gros, Antoine-Jean (Baron) (1771-1835) General Bonaparte on the bridge at Arcole, 17 November, 1796 Versailles, Musée National du Château Presentation on theme: "Gros, Antoine-Jean (Baron) (1771-1835) General Bonaparte on the bridge at Arcole, 17 November, 1796 Versailles, Musée National du Château."- Presentation transcript: ![]()
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