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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 Pardoning the Rebels at Cairo; Napoleon Receiving the Keys of Vienna; Napoleon Receiving the Queen of Prussia at Tilsit; Napoleon's Return from Elba (painting) Napoleon's ...
The Emperor Napoleon in His Study at the Tuileries (1812), exhibiting the hand-in-waistcoat gesture. The hand-in-waistcoat (also referred to as hand-inside-vest, hand-in-jacket, hand-held-in, or hidden hand) is a gesture commonly found in portraiture during the 18th and 19th centuries. The pose appeared by the 1750s to indicate leadership in a ...
He originally conceived the painting as showing the two arguing over the French emperor's desire to divorce his wife Josephine in order to allow him to make a dynastic marriage with Marie Louise, the daughter of Emperor Francis I of Austria. When Pius refused to grant a divorce, Napoleon imprisoned him in France. [4]
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.
The painting was produced at the suggestion of William Knighton and was commissioned by the politician John Abel Smith. [3] The previous year Wilkie had produced a painting featuring Josephine's husband Napoleon and Pius VII at Fontainebleau. It was exhibited at the Royal Academy's Summer Exhibition in London. [4]
Painting Andrea Mantegna: An Old Man and his Grandson: Painting Domenico Ghirlandaio: Pastoral Concert: Painting Titian: Madonna of the Rabbit: Painting Titian: Woman with a Mirror: Painting Titian: Venus and Cupid with a Satyr: Painting Antonio da Correggio: Susanna and the Elders: Painting Tintoretto: La Bella Nani: Painting Paolo Veronese ...
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.
Object history: Commissioned by Alexander, marquis of Douglas [1767 1852, from 1819, 10th duke of Hamilton], Hamilton Palace, Strathclyde, Scotland;[1] by inheritance to his son, William Alexander Anthony Archibald Douglas, 11th duke of Hamilton [1811 1863], Hamilton Palace, Strathclyde, Scotland; by inheritance to his son, William Alexander Louis Stephen Douglas Hamilton, 12th duke of ...