Pour lire une étude des différentes versions du tableau (site histoire-empire.org), Les grandes demeures de Corse In the first Versailles version (272 × 232 cm; 107 × 911⁄3 in), the horse is a dappled grey, the tack is identical to that of the Charlottenburg version, and the girth is blue. Napoleon's features are sunken with the faint hint of a smile. The inclusion of Charlemagne and the "IMP" (signifying Imperator, i.e. The girth is red. 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. With this work David took the genre of the equestrian portraiture to its zenith. croyez-vous que les grands hommes de l'Antiquité dont nous avons les images aient posé ? No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of Théodore Géricault's The Charging Chasseur of 1812. Pour Napoléon, il s’agissait d’agir rapidement. 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. While talks were underway to re-establish diplomatic relations, a traditional exchange of gifts took place. 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 original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. 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. Statuette Napoléon à cheval. 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. Les mouvements de population ont dû se poursuivre jusqu'à l'âge du fer et certainement durant la période de la Tène. 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. Faites un don ! 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. The Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. Que vous soyez un particulier ou une entreprise, vous pouvez bénéficier d'avantages fiscaux. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. Le col doit sa réputation à deux héros bien différents: au chien de sauvetage Barry et à Napoléon. 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. The scarf tied around Napoleon's waist is light blue. [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. Certes, le col du Grand Saint-Bernard reste accessible très facilement par tout bon marcheur: après tout, c’est aussi un col routier et la pente est très régulière. The first of the five portraits was painted in four months, from October 1800 to January 1801. D’autre part, le passage du Grand Saint-Bernard s’inscrivait en 1800 dans une stratégie générale de franchissement des cols alpins. — Poser ? Ceux-ci, membres de la deuxième coalition formée pour combattre la France républicaine, étaient en position de force en Italie. 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. Napoleon initially requested to be shown reviewing the troops but eventually decided on a scene showing him crossing the Alps. Chargé d’histoire, l’Hospice du Grand-Saint-Bernard est le lieu d’origine des fameux chiens. J.-C.. Selon Tite-Live, les Celtes Boïens et Li… David peint cinq versions de ce portrait, dont la première fut commandée par le roi d'Espagne Charles IV comme témoignage d'entente It was finally installed at the Belvedere in Vienna in 1834. Ayant, dans le passé, une vocation essentiellement agricole, le pittoresque village de Liddes, dans la Vallée du Grand Saint-Bernard, s’est résolument tourné vers le tourisme. Un dernier exemplaire, probablement peint au début de 1803, dont on ne connaît pas la destination, resta dans l’atelier de David et fut donné par sa fille aux neveux de l’Empereur, puis acquis par l’État français auprès du prince Napoléon en 1979 et déposé à Versailles. Pourtant, il suffit de se pencher quelques instants sur les faits pour … Qui ne serait pas frappé par la magnificence de la composition ? are engraved on rocks. The third and last layer was used for finishing touches: blending of tones and smoothing the surface. David often left this task to his assistants. Lire la suite Eté 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 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. 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. 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. [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. à quoi bon ? — 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. De plus, on a longtemps cru que l'appellation latine du col, le Poeninus, provenait du nom latin des Carthaginois (Poeni). Napoléon est représenté lors du franchissement du col alpin du Grand-Saint-Bernard par l'armée de réserve, épisode qui marque le début de la seconde campagne d'Italie. 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). C’est donc bien une réduction à l’héroïsme de la seule personne de Bonaparte qu’a peinte David, visant par là à lui attribuer le monopole de la victoire en Italie . Il lui fut commandé par l’ambassadeur d’Espagne à Paris pour son maître, le roi Charles IV, qui voulait placer dans le salon « des grands capitaines » du Palais royal de Madrid une effigie du nouveau héros de l’Europe. For what good? 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. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo. L’affiche de l’exposition « Napoléon Ier et l’Europe » (musée de l’Armée, 2013) reprend ce célèbre portrait du Premier Consul dans un montage expliqué sur le site du Musée de l’Armée. Avec une grande audace, Bonaparte joua la surprise en franchissant un col réputé peu praticable au printemps. — A resemblance? Le Bivouac Napoléon se situe à proximité du tunnel et du col du Grand-Saint-Bernard, dans une nature alpine de toute beauté. Emperor) raises doubts as to the level of Bonaparte's involvement with the addition of the inscriptions. coll. 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. Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. 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. . — Ressemblant ? On the breastplate yoke of the horse, the picture is signed and dated.[3]. David worked using two or three layers. C’est donc bien une réduction à l’héroïsme de la seule personne de Bonaparte qu’a peinte David, visant par là à lui attribuer le monopole de la victoire en Italie . Accompagné de son armée de réserve, Napoléon Bonaparte passa le col du Grand-Saint-Bernard le 20 mai, alors qu’il était vêtu d’un simple uniforme militaire bleu, recouvert d’une redingote blanche et sur sa tête, un bicorne couvert de toile cirée. 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. 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. Puis sont gravies les pentes du col du Grand Saint-Bernard , le long des torrents des Tronchets [Trontsë] et de Barasson , et l'arrivée à l'hospice , situé en haut du col à 2 469 mètres d'altitude, se fait vers 17 heures (voire en fin de matinée selon d'autres sources). Avec une altitude de 2469 m, le col du Grand-St-Bernard est le troisième plus haut col de Suisse et assure la principale liaison entre la Suisse romande et l’Italie. He is wreathed in the folds of a large cloak which billows in the wind. The Charlottenburg version (260 × 226 cm; 1021⁄3 × 89 in) shows Napoleon in a red cloak mounted on a chestnut horse. The officer holding a sabre in the background is obscured by the horse's tail. C'est le caractère de la physionomie ce qui l'anime qu'il faut peindre. 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. Il fait passer ses armées par le col du Grand Saint-Bernard afin de rejoindre l’Italie et surprendre ses ennemis, dans des conditions climatiques difficiles. François Gerard, a former pupil of David, posed for the hand. 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. 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. There is however, the possibility that it was just an indication of Charlemagne's status as emperor of the Holy Roman Empire. 89,95 € Commander: Statuette en résine façon bronze, d'après le célèbre tableau de Jacques-Louis David : "Bonaparte franchissant le col du Grand Saint … He commissioned Delaroche to produce a more accurate version which featured Napoleon on a mule; the final painting, Bonaparte Crossing the Alps, was completed in 1850. It quickly became the most reproduced image of Napoleon. In 1979, it was given to the museum at the Palace of Versailles. 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. Napoléon est représenté lors du franchissement du col alpin du Grand-Saint-Bernard par l'armée de réserve, épisode qui marque le début de la seconde campagne d'Italie. Alors que la France est sur le point de se faire battre par les armées autrichiennes, Napoléon Bonaparte décide de jouer un coup de poker ! All five versions of the picture are of roughly the same large size (2.6 ± 2.2 m). A 2473 mètres d’altitude, le col du Grand-Saint-Bernard est le troisième plus haut col de Suisse après l’Umbrail et le Nufenen. Découvrez ce col mythique, point de passage des Alpes entre la Suisse et l’Italie depuis des millénaires. — But Citizen First Consul, I am painting you for your century, for the men who have seen you, who know you, they will want to find a resemblance. It is now held in the Charlottenburg Palace in Berlin. The version from the Belvedere (264 × 232 cm; 104 × 911⁄3 in) is almost identical to that of Versailles but is signed J.L.DAVID L.ANNO X. propose d’aborder le mal du siècle à travers la mise en relation du texte de Musset « Un monde désenchanté », extrait des Confessions d’un enfant du siècle (p. 352 du manuel), d’une biographie de Napoléon 1er et de deux tableaux : Bonaparte franchissant le col du Grand Saint-Bernard, de David, et Le voyageur au-dessus de la mer de brume, de Caspar David Friedrich. 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. Au Néolithique, le col aurait servi de passage pour les premiers habitants du Valais qui se seraient approvisionnés en pierres en vallée d'Aoste. Dark clouds hang over the picture and in front of Bonaparte the mountains rise up sharply. [1] His left hand grips the reins of his steed. 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. 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. In Napoleon Crossing the Alps, the gesture leaves no doubt as to the will of the commander to arrive to his goal. Series of paintings by Jacques-Louis David, This article is about the painting by Jacques-Louis David. Conservateur en charge des peintures du XIXe siècle au Château de Versailles. The girth around the horse's belly is a dark faded red. Par la posture éminemment glorieuse de Bonaparte traversant le Col alpin du Grand-Saint-Bernard ? De nombreux sentiers de randonnée, dont la célèbre Via Francigena, passent non loin du Bivouac Napoléon. Le fait, qui n’est pas bien documenté, intervint peut-être même avant les événements représentés, à la fin de 1799 ou au début de 1800, mais le tableau fut réalisé entre septembre 1800 et janvier 1801. David chose symbolism rather than allegory. However, the people of Milan refused to give it up and it remained in the city until 1825. There are also hints of Titus in The Destruction of the Temple of Jerusalem by Nicolas Poussin, a painter who strongly influenced David's work. The uniform is more accurate, however, as David was able to borrow the uniform and bicorne worn by Bonaparte at Marengo. 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. Napoleon's features are older, he has shorter hair, and—as in the Charlottenburg version—there is the faint trace of a smile. Léonidas in Thermopyles shows a Spartan engraving details of their sacrifice on a wall. Il commémore le passage victorieux, au mois de mai 1800, du col du Grand-Saint-Bernard par l’armée de réserve sous la direction du Premier Consul, première étape de sa triomphale reconquête de l’Italie. It remains there today, now part of the collection of the Österreichische Galerie Belvedere. The installation of Napoleon as First Consul and the French victory in Italy allowed for a rapprochement with Charles IV of Spain. 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. D’autre part, le passage du Grand Saint-Bernard s’inscrivait en 1800 dans une stratégie générale de franchissement des cols alpins.
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