It was ordered by the ambassador of Spain for his master, King Charles IV, who wanted to place a figurative representation of the new hero of Europe in his ‘room of the great captains’ in the Royal Palace in Madrid. David started this portrait following the failure of a first monumental portrait which was supposed to commemorate the treaty of Campoformio (18 October, 1797) the famously incomplete version of which remains housed which remains in the Musée du Louvre. The relationship between Napoleon Bonaparte and Jacques-Louis David was tumultuous, but we tend to think rather of the images the latter made of the former, which helped the cause of the general, First Consul then Emperor during fifteen years of power.
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