Evolution of Large-Scale French Painting II: An Assertion of Power

Jacques Louis David, "Coronation of Napoleon," Oil on Canvas, 1805-07 20'4 x 32', Paris.

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Preliminary sketch for Coronation of Napoleon, Jacques Louis David, 1804.

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**This is the second posting in a five-part series on the evolution of large-scale French Painting**

Following the French Revolution and the Reign of Terror, Jacques Louis David aligned himself with Europe's most powerful force: Napoleon Bonaparte. In 1804, Napoleon commissioned David to paint his Coronation at Notre-Dame in Paris, France. The result was the aptly named Coronation of Napoleon, one of the largest paintings in history that also delivers an astute political message. David attended the nearly five-hour ceremony at the cathedral and sketched most of the images during this time. Nonetheless, many sketches were later changed and figures who were noticeably absent, such as Napoleon's mother, were inserted within the crowd. Also within the Louvre, is one of these very telling preliminary sketches. The sketch depicts the Pope--who begrudgingly came from Rome to Paris to attend the event--sitting indifferently as an assertive Napoleon crowns himself with his back cast towards the Church leader. As David illustrated in the Oath of the Horatii, he fully understood the power of a political message within painting and how to clearly illustrate that desired message to the public. Ultimately, the implication delivered by the sketch would be deleterious to Napoleon—a man who was already gaining an infamous reputation worldwide.

Despite the changes, Coronation still maintains Napoleon's assertion of power over the Pope. Symbolically, his back is still turned towards him and Napoleon stands above the Pope, looming as a larger and more powerful force within the painting. Both painter and emperor are declaring Napoleon’s ultimate power over the people of Europe. This declaration of supreme authority is continued in the crowing of Josephine. No longer is Napoleon crowing himself, as seen in the sketch, rather he is crowning his wife and empress. The switch in imagery serves to benefit Napoleon's image by appearing less prideful as he crowns his wife rather than himself, but still allows him to assert authority over the Pope for he is the one to crown Josephine, not the Supreme Pontiff. 

Although Coronation initially appears to be in sharp contrast to David's other Neo-Classical masterpieces, the painting still upholds his traditional aesthetic as seen previously in the Oath of the Horatii. David is a master of balance; in a painting that contains well over fifty different figures, his ability to maintain pictorial stability and order is of the utmost importance. The ceremony takes place in the Gothic cathedral of Notre Dame, yet David only paints the part of the church that best resembles the simplistic symmetry of Roman architecture. Once again, David utilizes this architecture in the background to frame his figural groupings, allowing for the eye to move gracefully about the canvas. In addition, these figures are grouped together by clothing, ensuring the scene does not become too chaotic for the viewer. Despite all the figures, David still draws the eyes to Napoleon with his contrasting bright white and deep red clothing and eventually to the kneeling Josephine. Although the painting does not depict a moment from the ancient past, Coronation is still historical. History is now within present day, but the subject is still the same. The grand past is no longer the adequate means of describing the present. This shift will continue in the works of later French artists as they begin to look towards the present rather than the past for their large-scale images. All figures, objects and textiles are rendered naturally and each face is a true portrait of its subject as David continues his emphasis on draftsmanship as well. Although the changes within David's work and Neo-classicism are subtle, his work in Coronation of Napoleon still embodies the ideals of the academic style during the Neo-classical era.