Nicholas Assi
July 15, 2015
Modern Culture and the Arts
Professor Bomboy
Painting Critique
Marxism
in “Napoleon Crossing the Great Saint Bernard Pass”
Narrative
Paintings have always been an interesting form of art work due to their ability
to tell a story and convey a message. Jacques-Louis David’s “Napoleon Crossing
the Great Saint Bernard Pass”, second version, created in the year 1800, is a
perfect example of this. Napoleon Bonaparte was the era’s first Romantic hero,
and David’s painting was an effort to create an idealized image of Napoleon (Fiero).
He achieved this spectacularly, using elements of art, as well as the
principles of design, to create a piece that truly glorified Napoleon. The
viewer is made to see a very powerful image of Napoleon, one that gives him an
aura of power and prestige. These themes are magnified to their peak, with
Napoleon himself serving as a larger than life figure. The feelings I get when
I look at it are certainly in line with these themes, and it is very clear that
Jacques-Louis David’s painting is the perfect example of the Romantic hero.
The
“Napoleon Crossing the Great Saint Bernard Pass” used in this paper is the
second of five created by Jacques-Louis David (Fiero). In 1799, Napoleon
Bonaparte was the military leader of France, and during a particular campaign,
he was trying to lead an army across the Alps in Italy (“David, Napoleon
Crossing the Alps” 2014). This was in order to take land that originally had
been seized by the Austria, an objective that he eventually completed. To
commemorate this victory for Imperial France, a French Ambassador requested
that David create a portrait of Napoleon. David, an admirer of both Napoleon
and his government, was eager to do the project. Bonaparte later requested that
David create more versions of the painting, a task he agreed to, creating up to
five different versions (“David, Napoleon Crossing the Alps” 2014).
“Napoleon
Crossing the Great Saint Bernard Pass” has several different elements of art. One
example is the use of lines. In the background, curving lines are used to show
the peaks and mountains of the Alps. These help give the historical setting of
the piece, showing the area he is in. Another element that shows the location
is the texture. The ground and rocks are shown to be rough and hard, showing
the desolation and hardness of his location. On the other hand, Napoleon’s
horse and its coat is smooth, almost looking soft to the touch. This helps to
give a sense of the mystique of Napoleon. Not only is he above the sad physical
state of his location, but so is the very animal he rides on. It looks almost
as if he can’t be sullied by his desperate surroundings. Another example is
Spacing. Almost the entire space of the portrait is taken up by Napoleon and
his horse (“David, Napoleon Crossing the Alps” 2014). There area around him
shows a small amount of soldiers moving supplies, as well as some of his
location, but it is very clear that Napoleon is the focus of this piece. This
is also an example of an element of design. He is the focal point of the piece.
It emphasizes him. This helps to demonstrate Napoleon’s importance. He is
clearly a significant character, a man of such power and strength that he
deserves to be focused on, deserves to be the main object of this creation. Even
the use of color helps to show this. All around napoleon, we see the dull,
dirty brown and gray of the earth around him. There is little to no bright
color around him. This helps to show that little life can grow or exist on the
very top of the Alps. What little life we see is straggly, dull green tufts of
grass. Even the sky above him is dull. A mixture of dark blue to show the
darkness of the sky mixed with some white to help show snow, wind, and clouds
helps to give the viewer a sense of the coldness of these mountains. However, there
is one bright spot, Napoleon himself. It looks almost as if a beam of light
itself has decided to just strike Napoleon and his horse, illuminating only
him. The use of contrast is clear. In that light, we see napoleon’s outfit’s
colors are bright and not faded at all, his skin is full of color and healthy
looking, and both him and his steed itself clean, unblemished by dirt, snow, or
grime. He doesn’t appear to be cold or weak at all. Instead, he looks strong
and ready for action, as if crossing these mountains is merely a matter of time
for him, not effort. He looks as if the power of raw nature itself, so much a
curse on mankind, can’t affect him in the slightest. He looks as if he has
mastered nature, symbolizing his right to lead.
The
meaning of this painting is very clear. It is meant to glorify Napoleon in
every way possible. Napoleon Bonaparte was the emperor, military leader, and
enlightened despot of France (Fiero). He had risen to power in the aftermath of
the chaotic French Revolution to not only take charge of France and lead it to
stability, but to lead it into almost conquering all of Europe. He was the
French government personified. He needed to look impressive in order to keep up
the entire nation’s morale. These paintings were made to show Napoleon as the
ideal leader, a larger than life figure that came along once in a generation.
Everything about the painting was made to show him as this greater than average
man. The light only shines on him to signify his importance. The beauty of his
steed was made to show that even such a beautiful animal rippling with power
obeyed under his command. His cleanliness showed he could not be sullied or dirtied
in any way. Even the way the environment around him helped to give him an aura
of importance. It’s dark, bleak, and cold. Yet he looks lively and full of
color, a look of complete confidence on his face. This helped show he was very
sure of himself and his plans, as well that he was above the dangers of nature
itself. Everything about this painting was made to show Napoleon in a good
light, to enhance his reputation. A task it no doubt succeeded in.
To
me at least, everything that David was trying to accomplish was achieved. I
already know the history of Napoleon, and how he ultimately failed in his goal
of conquering Europe. Even then, I still get the feeling of power from this
painting. It radiates from Napoleon, and that fact that people admired him so definitely
in a sense made that power real. You very much get a feeling of a strong
military leader from the picture, and while his strong, handsome look is no
doubt a little idealized, you still get the feeling of a strong imperialistic
leader from the painting. I get the feeling that even with what I already know
of Napoleon, if I met the man, I would be very impressed if he looked only half
as strong as he does in this painting.
“Napoleon
Crossing the Great Saint Bernard Pass”, second version, by Jacques-Louis David,
1800
Works Cited
Fiero,
Gloria K. “The Humanistic Tradition.” 5th ed. Vol. 4. New York: McGraw-Hill,
2011. Print.
“David,
Napoleon Crossing the Alps” khanacademy.org Web. October 18, 2014.
July 19, 2015. https://www.khanacademy.org/humanities/monarchy-enlightenment/neo-classicism/a/david-napoleon-crossing-the-alps
