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The painting depicts Napoleon in a room of the Palace of Fontainebleau. He appears with a thoughtful expression, while he sits informally in a chair. He has the appearance of someone who has just returned from combat, while he also wears his uniform of colonel of the horse grenadiers of the Imperial Guard, with his grey frock coat.
Engraving of Robert Lefèvre's Portrait of Napoleon in his coronation costume, engraving in the treatise by the Pausanias français. The painting shows Napoleon as emperor, in the costume he wore for his coronation, seated on a circular-backed throne with armrests adorned with ivory balls. In his right hand, he holds the scepter of Charlemagne ...
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 a series of five oil on canvas equestrian portraits of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805.
Napoleon I at Fontainebleau on March 31, 1814; Napoleon I on His Imperial Throne; Napoleon in Imperial Costume; Napoleon in the Wilderness; Napoleon Leading the Army over the Alps; Napoleon on the Battlefield of Eylau; Napoleon on the Bellerophon; Napoleon Receiving the Queen of Prussia at Tilsit; Napoleon's Return from Elba (painting) Napoleon ...
[3] [4] The painting depicts Napoleon Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800 [5] in an attempt to surprise the Austrian army in Italy. [6] [7] Several versions of this painting exist: in the Louvre- Lens and the Walker Art Gallery in Liverpool, England. Queen ...
The characters in the painting. Napoleon I (1769–1821), is standing, dressed in coronation robes similar to those of Roman emperors. Others are merely passive spectators. In the actual painting it is possible to see the outline of what was originally painted: Napoleon holding the crown above his own head, as if placing it on himself.
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An analysis of the original painting reveals that the artist reedited the composition and details several times to balance the image, add allusions, and capture a complete story. Brush strokes and texture indicate that an earlier version had Napoleon's upper body flanked by two fluted columns about the width of the figure's torso.