Le Premier Consul franchissant les Alpes au col du Grand-Saint-Bernard Lorsqu’on visite le musée national du Château de la Malmaison, on ne peut manquer de tomber en arrêt devant le chef - d’œuvre du peintre Louis David intitulé «Bonaparte franchissant le Grand-Saint-Bernard». 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. 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. In the original version held at Malmaison (260 × 221 cm; 102​1⁄3 × 87 in), Bonaparte has an orange cloak, the crispin (cuff) of his gauntlet is embroidered, the horse is piebald, black and white, and the tack is complete and includes a Running Martingale. The gesture is omnipresent in David's painting, from St. Roch Interceding with the Virgin for the Plague Stricken to Mars disarmed by Venus and the Graces. bonaparte franchissant les alpes. On accepting the commission for the Alpine scene, it appears that David expected that he would be sitting for the study, but Bonaparte refused point blank, not only on the basis that he disliked sitting but also because he believed that the painting should be a representation of his character rather than his physical appearance: — Sit? L'exemplaire de George Onslow est en fait la deuxième version de l'œuvre et non l'original. Versailles 2. La dernière modification de cette page a été faite le 10 novembre 2019 à 18:35. In The Death of Marat, the dying revolutionary holds a page with the name of his assassin, Charlotte Corday. dimensions: 2,70 x 2,32. lieu de conservation: chateau des versailles , galeries historiques. The first two copies were exhibited in the Louvre in June 1801 alongside The Intervention of the Sabine Women, and although there was an outcry in the press over the purchase, the painting quickly became well known as a result of the numerous reproductions that were produced, the image appearing everywhere from posters to postage stamps. Vienne. The youthful figure of Bonaparte in the initial painting reflects the aesthetic of the "beautiful ideal" symbolized by the "Apollo Belvedere" and taken to its zenith in The Death of Hyacinthos by Jean Broc, one of David's pupils. Inédit : Frédéric Lacaille conservateur décrypte le tableau « Bonaparte franchissant le Grand Saint Bernard » chef d’oeuvre du peintre Jacques-Louis David # ensembleàlamaison # Culturecheznous. The officer with the sabre is again masked by the tail of the horse. Künzi F. – Bonaparte, Bicentenaire du passage des Alpes 1800-2000 – Fondation Pierre Gianadda, Martigny, 2000. 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. Napoleon's features are older, he has shorter hair, and—as in the Charlottenburg version—there is the faint trace of a smile. David often left this task to his assistants. The landscape is darker and Napoleon's expression is sterner. Ce n'est pas l'exactitude des traits, un petit pois sur le nez qui font la ressemblance. Bonaparte franchissant les Alpes est une représentation de Napoléon Bonaparte peinte entre 1848–1850, par le peintre français Paul Delaroche.La peinture montre Bonaparte à la tête de son armée traversant les Alpes sur une mule, au printemps 1800, dans le but de surprendre l'armée autrichienne en Italie.. La peinture est inspiré de l'œuvre de Jacques-Louis David Bonaparte … The version kept by David until his death in 1825 was exhibited at the Bazar Bonne-Nouvelle [fr] in 1846 (where it was remarked upon by Baudelaire). Bonaparte franchissant les Alpes est un tableau peint en 1848 par le peintre français Paul Delaroche. 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. À l'arrière plan à gauche on perçoit un officier maintenant de sa main son chapeau. Napoleon's face appears youthful. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles' behalf. 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. 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. The girth around the horse's belly is a dark faded red. His figure of Bonaparte is heroic and idealized but it lacks the concrete symbols of allegorical painting. The painting is signed in the yoke of the breastplate: L. DAVID YEAR IX. Avec une grande audace, Bonaparte joua la surprise en franchissant un col réputé peu praticable au printemps. 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). 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. BonapartefranchissantlesAlpes! On completion of the initial version, David immediately began work on the second version which was finished on 25 May, the date of Bonaparte's inspection of the portraits at David's Louvre workshop. Il existe cinq versions de l'œuvre, l'exemplaire daté de 1848 exposé au Louvre est considéré comme le premier original, une deuxième version datée à Nice en 1850, appartient à la Walker Art Gallery de Liverpool et a longtemps été considérée à tort comme la première version. Series of paintings by Jacques-Louis David, This article is about the painting by Jacques-Louis David. 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. The installation of Napoleon as First Consul and the French victory in Italy allowed for a rapprochement with Charles IV of Spain. 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. Bonaparte cruzando los Alpes (también llamado Napoleón cruzando los Alpes, a pesar de la existencia de otra pintura con ese nombre) es una pintura al óleo de 1848-1850 que retrata a Napoleón Bonaparte, [1] realizada por el artista francés Paul Delaroche. Le tableau Bonaparte franchissant les Alpes en 1800 a été peint en 1848 par Paul Delaroche. Le Premier Consul franchissant les Alpes au col du Grand-Saint-Bernard. […] Personne ne s'informe si les portraits des grands hommes sont ressemblants, il suffit que leur génie y vive. The embroidery and the style of the bicorne suggest that the picture was completed after 1804. La peinture est inspirée de l'œuvre de Jacques-Louis David Bonaparte franchissant le Grand-Saint-Bernard (1801–1803), où David montre aussi Napoléon traversant le col du Grand-Saint-Bernard, mais présentant des différences significatives entre les deux conceptions du même sujet. 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. : document utilisé comme source pour la rédaction de cet article. Il représente Napoléon sur une mule,un jeune garçons pourrais portés un regard négatif sur Napoléon car à l'inverse de d'habitude l'empeureur n'est pas représenté sous son meilleur profil, il n'est pas glorieux,fiére ou encore en quête … In Napoleon Crossing the Alps, the gesture leaves no doubt as to the will of the commander to arrive to his goal. Il enfourche une mule, sa main droite est glissée sous son uniforme, sa main gauche est posée sur le pommeau de la selle. Bonaparte franchissant les Alpes au Grand-Saint-Bernard - 1800. 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. Napoleon's features are sunken with the faint hint of a smile. Bonaparte franchissant le Grand-Saint-Bernard, Département des peintures du musée du Louvre, https://fr.wikipedia.org/w/index.php?title=Bonaparte_franchissant_les_Alpes&oldid=164379981, Collection de peintures françaises du Louvre, Page pointant vers des bases relatives aux beaux-arts, Portail:Époque contemporaine/Articles liés, Portail:France au XIXe siècle/Articles liés, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. Là où le Bonaparte de David est idéalisé à la manière d'un héros antique, celui de Delaroche est représenté de manière réaliste et sans complaisance, dans un style romantique qui était en vogue à l'époque. Version Schloss Charlottenburg, 1801, 260 × 226 cm, GK I 913, commissioned … In 1979, it was given to the museum at the Palace of Versailles. Une copie par Georges Rouget était aussi visible à la bibliothèque des Invalides. The scarf tied around Napoleon's waist is light blue. Primaire Ce1 Enseignements artistiques Arts plastiques « Bonaparte franchissant les Alpes au Grand-Saint-Bernard », de Jacques-Louis David Ce1 Enseignements artistiques Arts plastiques « Bonaparte It is now held in the Charlottenburg Palace in Berlin. By the time Napoleon's troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. Proposé par : Gérard 26 septembre 2006 à 12:37 (CEST){{{4}}} Cet article a, selon moi, les qualités nécessaires à devenir un AdQ. The Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the trans-Alpine route. Un article de Wikipédia, l'encyclopédie libre. Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. David worked using two or three layers. 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. Bonaparte franchissant les alpes. While talks were underway to re-establish diplomatic relations, a traditional exchange of gifts took place. La toile du Louvre est signée et datée en bas à gauche Paul Delaroche, 1848, celle de Liverpool Paul Delaroche, Nice 1850. David chose symbolism rather than allegory. 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. Paul Delaroche (1848 ). 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. Bonaparte franchissant les Alpes de Paul Delaroche, 1848, Muzeul Luvru Prin traversarea Alpilor de către armata de rezervă la 13 mai 1800 intervine Napoleon în cea de-a doua campanie din Italia declanșată … [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. C'est le caractère de la physionomie ce qui l'anime qu'il faut peindre. It was finally installed at the Belvedere in Vienna in 1834. Napoleón cruzando los Alpes (también conocido como Napoleón en el paso de San Bernardo, Bonaparte cruzando los Alpes, Retrato ecuestre de Bonaparte en el monte Saint-Bernard) es el título de cinco versiones de un retrato ecuestre pintado al óleo sobre lienzo de Napoleón Bonaparte, realizadas por el artista francés … Version: Château de la Malmaison, January 1800/1, 260 × 221 cm, M.M.49.7.1, commissioned by Charles IV of Spain; 2 2. No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of Théodore Géricault's The Charging Chasseur of 1812. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo. Ce tableau fut peint pendant l'automne et l'hiver 1800 pour le roi d'Espagne . Toiles comparées : Bonaparte Franchissant les Alpes. [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. The version from the Belvedere (264 × 232 cm; 104 × 91​1⁄3 in) is almost identical to that of Versailles but is signed J.L.DAVID L.ANNO X. Retour sous 100 … Cependant on ne connaît pas les raisons précises qui ont amené Delaroche à choisir de faire un tableau sur le thème du passage des Alpes par Napoléon. Bonaparte franchissant les alpes Bonaparte franchissant les Alpes — Wikipédi . La peinture est inspirée de l'œuvre de Jacques-Louis David Bonaparte franchissant le Grand-Saint-Bernard (18011803), où David montre aussi Napoléon traversant le col du Grand-Saint-Bernard, mais présentant des différences significatives entre les deux conceptions du même sujet. In 2005, Artist, Kehinde Wiley, imitated the original painting of Jacques-Louis David by transforming the traditional portrait into a contemporary version of Napoleon. Resté dans la collection de la famille jusqu'en 1967, il est mis en vente chez Christie's en 1968 et en 1971. Christophe Henry, « Bonaparte franchissant les Alpes au Grand-Saint-Bernard : Matériaux et principes d'une icône politique », dans Daniel Roche, Le Cheval et la guerre : du XV e au XX e siècle, Association pour l'Académie d'art équestre de Versailles, 2002 (ISBN 2-913018-02-5), p. 347-365 T’as vu comme il se cabre, il tombe même pas et y se tient que d’une main. 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. Ceux-ci, membres de la deuxième coalition formée pour combattre la France républicaine, étaient en position de force en Italie. For the painting by Paul Delaroche, see, For another example of David's inclusion of the signature and date as part of the painting see. The Charlottenburg version (260 × 226 cm; 102​1⁄3 × 89 in) shows Napoleon in a red cloak mounted on a chestnut horse. While Delaroche's painting is more realistic than the symbolic heroic representation of David, it was not meant to be demeaning - Delaroche admired Bonaparte and thought that the achievement was not diminished by depicting it in a realistic fashion. Il est vêtu d'un uniforme d'officier général recouvert par une redingote grise, il porte une culotte de peau blanche et des bottes à l'écuyère. 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. The cloak is orange-red, the collar is black, and the embroidery of the gauntlet is very simple and almost unnoticeable. However, the people of Milan refused to give it up and it remained in the city until 1825. The picture is not signed. In background a line of the soldiers interspersed with artillery make their way up the mountain. The embroidery of the gauntlet is simplified with the facing of the sleeve visible under the glove. It is the character that dictates what must be painted...Nobody knows if the portraits of the great men resemble them, it is enough that their genius lives there.[2]. The 1802 copy from Les Invalides was taken down and put into storage on the Bourbon Restoration of 1814; but in 1837, under the orders of Louis-Philippe, it was rehung in his newly declared museum at the Palace of Versailles, where it remains to the present day. Contents. jacques-louis david 1803. introduction de l'oeuvre et de l'artiste. Il existe cinq versions de l'œuvre, l'exemplaire daté de 1848 exposé au Louvre est considéré comme le premier original, une deuxième version datée à Nice en 185… [2] [3] La pintura muestra a Bonaparte montado en una mula, guiando a su ejército a través de los Alpes… In the first Versailles version (272 × 232 cm; 107 × 91​1⁄3 in), the horse is a dappled grey, the tack is identical to that of the Charlottenburg version, and the girth is blue. Emperor) raises doubts as to the level of Bonaparte's involvement with the addition of the inscriptions. La toile, de grande dimension (celle du Louvre mesure 2,89 m sur 2,22 m, soit un peu plus grande que la version de David), représente Napoléon Bonaparte, alors premier consul, en train de traverser un col des Alpes. L'autre élément est la différence de forme des rochers du premier plan. technique: huile sur toile . Il est coiffé d'un bicorne de feutre noir galloné d'or. En mai 1800, alors que les armées autrichiennes assiè… The picture is signed L.DAVID YEAR IX. La peinture représente Napoléon Bonaparte à la tête de son armée traversant les Alpessur une mule, au printemps 1800, lors de la seconde campagne d'Italie. Malmaison. Christophe Henry, « Bonaparte franchissant les Alpes au Grand-Saint-Bernard : Matériaux et principes d'une icône politique », dans Daniel Roche, Le Cheval et la guerre : du XV e au XX e siècle, Association pour l'Académie d'art équestre de Versailles, 2002 (ISBN 2-913018-02-5), p. 347-365 Son visage est impassible et son regard dirigé vers le spectateur. Two of David's pupils assisted him in producing the different versions: Jérôme-Martin Langlois worked primarily on the first two portraits, and George Rouget produced the copy for Les Invalides. Feb 2, 2017 - Jacques Louis David, Bonaparte franchissant le Grand-Saint-Bernard (château de Versailles) probable version vu par Delaroche et qui était alors exposée à Paris dans les années 1846. It isn't the exactness of the features, a wart on the nose which gives the resemblance. La peinture fut critiquée par plusieurs spécialistes de la question sur le réalisme de la scène. Stephen Bann suggère que la rencontre entre George Onslow et le peintre a bien eu lieu, mais que Delaroche aurait choisi de produire deux œuvres presque identiques et d'en envoyer une pour l'Amérique [4]. Mais Paul Delaroche a proposé une représentation bien plus réaliste de ce qu’à pu être la traversée des Alpes de Napoléon. The original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. — A resemblance? 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. À l'époque du tableau de Delaroche, seulement deux versions autographes du portrait équestre de David étaient en France, celle de Versailles accrochée au palais depuis 1837, et l'exemplaire appartenant à la famille du peintre, dans la collection privée de la baronne Jeanin fille de David (donné à Napoléon III en 1850, aujourd'hui à Versailles depuis 1979). (1797-1856) exécute une autre version de Bonaparte franchissant les Alpes (musée du Louvre). — Ressemblant ? 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. croyez-vous que les grands hommes de l'Antiquité dont nous avons les images aient posé ? La date 1848 peinte sur la toile a démontré qu'il s'agissait de l'original. Poster Bonaparte franchissant le Grand-Saint-Bernard dès 6,95 € Poster Le Sacre de Napoléon ... Poster Napoléon traverse les Alpes dès 5,95 € Posterlounge À propos Notre équipe Collections. Engravings from Voyage pittoresque de la Suisse served as models for the landscape. All five versions of the picture are of roughly the same large size (2.6 ± 2.2 m). — 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. He had sat for Gros in 1796 on the insistence of Joséphine de Beauharnais, but Gros had complained that he had not had enough time for the sitting to be of benefit. Dark clouds hang over the picture and in front of Bonaparte the mountains rise up sharply. 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. Jacques Louis David, Bonaparte franchissant le Grand Saint-Bernard, 20 mai 1800, huile sur toile, 1802, château de Versailles. 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. — 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. In The Death of Socrates, the philosopher—on the point of drinking hemlock—continues teaching his disciples with a gesture of reprimand at their emotional displays. Was it coincidence or a hint of his ambitions? In 1850 it was offered to the future Napoleon III by David's daughter, Pauline Jeanin, and installed at the Tuileries Palace. Ainsi Bonaparte nous apparaît chevauchant un mulet vêtu d’une simple redingote … The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. Il s’inspire du tableau de David mais choisit d’illustrer le génie de Bonaparte de manière réaliste, sans complaisance, dans le pur style romantique. Cependant cette version des faits est erronée car aucune version du portrait de David n'était accrochée au musée du Louvre depuis 1802, date où les versions de Malmaison et de Berlin furent exposées avec Les Sabines. The Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. The tack is simpler, lacking the martingale, and the girth is grey-blue. Jourquin J. – Les cinq tableaux de Bonaparte franchissant les Alpes au Grand-Saint-Bernard – Le Souvenir Napoléonien n° 392, décembre 1993. La peinture représente Napoléon Bonaparte à la tête de son armée traversant les Alpes sur une mule, au printemps 1800, lors de la seconde … The horse rears up on its back legs, its mane and tail whipped against its body by the same wind that inflates Napoleon's cloak. Bonaparte franchissant les Alpes de Jacques-Louis David. 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. Bonaparte franchissant les Alpes Paul Delaroche, 1850 I. Fiche d’identité * Nature de l’œuvre : huile sur toile * Date: réalisée entre 1848 et 1850 * Artiste : Paul Delaroche (1797-1856) Professeur aux Beaux-arts et peintre parmi les plus réputés de son siècle, il fut par ailleurs l’initiateur de l’anecdote historique, genre à … After having captured the basic outline with an ochre drawing, he would flesh out the painting with light touches, using a brush with little paint, and concentrating on the blocks of light and shade rather than the details. The third and last layer was used for finishing touches: blending of tones and smoothing the surface. Mona : Et l’autre. Conditions générales de vente Protection des données Mentions légales. Faithful to his desire for a "return to the pure Greek" (retour vers le grec pur), David applied the radical neo-classicism that he had demonstrated in his 1799 The Intervention of the Sabine Women to the portrait of Bonaparte, with the use of contemporary costumes the only concession. Le tableau appartient ensuite à la collection de M. et Mme. Dans ce tableau, David met en scène un épisode fameux de la seconde campagne d’Italie (1799-1800) menée par Bonaparte, Premier consul, contre les Autrichiens. Le décor est constitué de montagnes et de rochers enneigés. — Poser ? titre: bonaparte franchissant le grand-saint-bernard. Charlottenburg. Paul Delaroche, Bonaparte franchissant les Alpes, 1850″ On est d’accord, c’est tout de suite moins héroïque. ... tout en tendant le doigt vers les Alpes, et plus symboliquement, vers les hauteurs et la grandeur. Tableau original du Louvre, peint en 1848, vendu aux États-Unis, acheteur inconnu, racheté par le collectionneur John Naylor en août 1853 pour 1 750 livres. Second exemplaire de la Walker Art Gallery de Liverpool, acheté par Arthur George troisième comte d'Onslow, le tableau est acquis par le musée de Liverpool en 1893 lors de la vente de la collection Onslow. Le peintre va sûrement pas le montrer se cassant la figure ; Napoléon aurait vite fait de le virer ! Christophe Henry, « Bonaparte franchissant les Alpes au Grand-Saint-Bernard : Matériaux et principes d'une icône politique », dans Daniel Roche, Le Cheval et la guerre : du XVe au XXe siècle, Association pour l'Académie d'art équestre de Versailles,‎ 2002 (ISBN 2-913018-02-5), p. 347-365 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. His head is turned towards the viewer, and he gestures with his right hand toward the mountain summit. 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. The bare rather than gloved hand may indicate Napoleon desiring to appear as a peacemaker rather than a conqueror. Auteur!:PaulDelaroche! Tous les trois ont en effet accompli l’exploit de traverser les Alpes avec leurs armées. Jacques Louis David (1801). Initialement intitulée Tableau-portrait équestre du Premier Consul, représenté dans le moment où il passe les Alpes au mont Saint-Bernard le 30 floréal an VIII (aussi nommé dans ses différentes versions : Le Premier Consul franchissant les Alpes au col du Grand-Saint-Bernard, Napoléon passant le mont Saint-Bernard, Bonaparte … à quoi bon ? Genre(:Peintureàl’huilesurtoile!Localisation!Musée!du!Louvre,!Paris! Unable to convince Napoleon to sit for the picture, David took a bust as a starting point for his features, and made his son perch on top of a ladder as a model for the posture.