David often left this task to his assistants. This painting is very typical of the style of Kehinde Wiley in that it is a monumental painting that incorporates brocade/decorative motif as an element of the background. (274.3 x 274.3 cm) frame: 130 1/2 x 121 x 12 in.

History and deception: Kenseth Armstead’s Surrender Yorktown 1781. (Photo: Sarah DiSantis, Brooklyn Museum) Artist:Kehinde Wiley Medium: Oil on canvas Dates:2005 Dimensions: 108 x 108 in. Kehinde Wiley ‘s interpretation of Napoleon is done in his recognizable manner – Wiley overlaps the repetitive ornamental elements from the background with … The man has The basic composition of Wiley's painting is similar to the well-known portrait of Napoleon Bonaparte by Jacques-Louis David, and the two paintings share many elements Just as Kehinde's subject did not sit for the portrait, neither did Napoleon sit for David, but rather sent instructions that he should be depicted “‘calm on a spirited horse.’”

In 2005, Artist, Kehinde Wiley, imitated the original painting of Jacques-Louis David by transforming the traditional portrait into a contemporary version of Napoleon. No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of 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. This equestrian portrait appropriates Jacques-Louis David's famous Bonaparte Crossing the Grand Saint-Bernard Pass, 20 May 1800 (1800). Oil on canvas, 108 x 108 in. (99.79kg) Collections: Contemporary Art; Museum Location: Morris A. and Meyer Schapiro Gallery, 4th Floor Exhibitions: Kehinde Wiley: A New Republic; Jacques-Louis David Meets Kehinde Wiley Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a In the original version held at Malmaison (260 × 221 cm; 102​In the first Versailles version (272 × 232 cm; 107 × 91​The version from the Belvedere (264 × 232 cm; 104 × 91​The second Versailles version (267 × 230 cm; 105 × 90​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 Faithful to his desire for a "return to the pure Greek" (The youthful figure of Bonaparte in the initial painting reflects the aesthetic of the "beautiful ideal" symbolized by the "For the horse, David takes as a starting point the The gesture is omnipresent in David's painting, from David uses inscriptions to reinforce the symbolism in eight of his known works: With this work David took the genre of the equestrian portraiture to its zenith.

After having captured the basic outline with an The third and last layer was used for finishing touches: blending of tones and smoothing the surface. DATES 2005 . à quoi bon ?

At Cuseum, our vision is to transform the way people engage with art and culture at museums and beyond. 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. Napoleon Crossing the Alps 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.

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