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Exhibition Booklet Is No More English NAPOLÉON EXHIBITION BOOKLET IS NO MORE ENGLISH Though “Napoleon is no more”, he is still very much present. What are the circumstances of his death on the other side of the world? How did his death influence posterity? This booklet is meant to provide information throughout your visit, offering short explanations on the exhibits, either one by one or by groups. NAPOLEON FOR ETERNITY 004 Tableau allégorique du retour des Cendres de Napoléon, le 15 décembre 1840 (Allegorical 001 Napoleon before the Tomb of Frederick the Great Painting of the Transfer of Napoleon’s Ashes, on Circa 1808 Château de Fontainebleau, inv. 2306 and 15 December 1840) inv. 2625 (alternating) FRANÇOIS TRICHOT, 1846 In a dynamic composition inspired by biblical scenes, Napoleon’s coffin is 002 The Emperor Visiting the Tomb reaching its final stage: the Invalides. of Frederick the Great Every element and character depicted Lithography by JEAN-BAPTISTE JORAND in this painting has a strong symbolic based on a drawing by ALEXANDRE- ÉVARISTE FRAGONARD, 1811 meaning, contributing to a grandiloquent Paris, Musée de l’Armée, inv. 2005.1.41 discourse which places Napoleon at the heart of French heritage. Paris, Musée de l’Armée, inv. 2018.0.139 003 Vision de Napoléon à la veille des désastres (Vision of Napoleon on the Eve of the Disasters) 005 Allegory at the Tomb on Saint EDMOND-LOUIS DUPAIN, 1904 Helena: Napoleon’s Army This painting is presented to the public Mourning His Death for the first time since the outstanding JEAN ALAUX, 1837 restauration work made possible thanks Designed for the Musée de l’Histoire to the international subscription appeal de France (Museum of French History) launched on 5 May 2019 by the Musée de created by Louis Philippe at the Versailles l’Armée and the Fondation Napoléon. Palace, this painting chooses to only Paris, Musée de l’Armée, inv. 02393, donated remember the beginning and the end by the artist in 1921 of Napoleon’s career: the Revolution’s General, and the “great man” in Saint Helena. The lower part represents a 2 NAPOLEON FOR ETERNITY romantic version of the tomb with its willows in Saint Helena, which was a 008 Le tombeau de Napoléon Ier direct inspiration from the work painted et l’état-major de l’Hôtel des by François Gérard under the Restoration. Invalides (The Tomb of Napoleon I The upper part, without depicting and the General Staff of the Hôtel des Napoleon directly, takes the form of Invalides) a tribute to the heroic figures of the LOUIS BÉROUD, 1888 Revolution. In France, from the 1870 defeat to the Musée National des Châteaux de Versailles First World War, Napoleon’s strategy was et du Trianon, inv. MV 1782 passionately revisited. Beyond military art, the body resting under the Dôme des Invalides brought a broader and 006 Transfer of the Ashes of Napoleon I to “La Belle-Poule,” long-lasting inspiration, and has become October 15, 1840 the object of a tribute to France and its historical heritage. EUGÈNE ISABEY, 1842 This painting is presented to the On 15 October 1840, before the eyes of public for the very first time since the the French sailors and the inhabitants of outstanding restauration work made the island of Saint Helena, Napoleon’s possible thanks to the international coffin rose before landing on the deck of subscription appeal launched on the frigate La Belle-Poule. At the heart 5 May 2019 by the Musée de l’Armée and of the composition, this black coffin, the Fondation Napoléon. highlighted by the white smoke of the Paris, Musée de l’Armée, inv. 5389bis.13 (Ed 56) artillery salvos, looks like it is reaching for the sky, giving this fleeting moment the impression of an apotheosis. 009 Napoleon Awakening to Musée National des Châteaux de Versailles Immortality et du Trianon, inv. MV 5124 FRANÇOIS RUDE, CIRCA 1846 This model was a project for one of 007 Napoléon, allégorie (Napoleon, the first monuments dedicated to Allegory) Napoleon since his fall. We owe it to JEAN-BAPTISTE MAUZAISSE, 1833 Claude Noisot, former Grenadier of the The Emperor, with the focussed Imperial Guard, who was shocked by the expression of a man fully devoted to the lack of representation of Napoleon in the task at hand, full-faced and adorned with public space. The return of the ashes of all the attributes that identify him – hat, the Emperor gave him the opportunity uniform of the Foot Grenadier of the to carry out this initiative. He was joined Imperial Guard, Legion of Honour – is by François Rude, a great admirer of sitting on a cloud. Underneath him, an Napoleon. Lying down, lifting his shroud, opening towards a distant landscape: the the fallen Emperor is ready to rise back outline of the rock of Saint Helena is set up, supported by a number of symbolic against the red, infernal looking sky. The elements, namely the broken chains, the artist positioned triumph in the continuity dying eagle, and the laurel wreath. The of exile. In order for Napoleon’s glory to inauguration of this bronze statue took be revived, it has to rely on his civil work, place in 1847, in Fixin (Côte-d’Or). sanctioned by the passing of years and Paris, Musée du Louvre, Department of Sculptures, inv. RF 904 soaked in the fire of martyrdom. Musée National des Châteaux de Malmaison et de Bois-Préau, inv. M.M.40.47.8401 3 DEATH The question surrounding the people DEATH who were with Napoleon at the time of his death is crucial, as these were the last followers and the first witnesses of 010 Table clock belonging to a scene which immediately went down Napoleon I in Saint Helena in History. Steuben gathered extensive PIERRE-BASILE, known AS SULLY LEPAUTE, information on both the decor and circa 1809–1812 participants. Although this reconstitution In his will, Napoleon described this alarm was produced in a workshop, it was clock as “the small gold clock which based on close collaboration with the is now in my bed-chamber”. As was main witnesses and was so precise that customary, all the clocks of the house it was considered a primary source for were stopped at the time of death: at the contemporaries. The engraving made 5:49, on the afternoon of 5 May 1821. by Jazet contributed significantly to the Paris, Musée de la Légion d’Honneur et des Ordres de Chevalerie, inv. 06850 distribution of the composition. 011 Cahiers de Sainte-Hélène 015 Napoleon on His Deathbed, (Notebooks from Saint Helena) One Hour before His Funeral HENRI GATIEN BERTRAND, 1821 JEAN-BAPTISTE MAUZAISSE, 1843 Pierrefitte-sur-Seine, Archives Nationales, At the Salon, the painter Mauzaisse first 390 AP 25, file 30 April–25 May, folio 55, 1 May presented a version featuring the corpse 012 Manuscrits de Sainte-Hélène on its own, as it had been exhibited in (Manuscripts from Saint Helena) Longwood. His uncompromising vision LOUIS-ÉTIENNE SAINT-DENIS, known as was not well received by critics, who “MAMELUKE ALI”, between 1846 and 1850 spoke of a “gravedigger’s painting”. The Jacques Jourquin Collection subsequent addition of the figures of The last followers were keen to transcribe Marchand and Vignali transformed the Napoleon’s final moments. Almost all of composition, and it became a genre them kept diaries of their lives on the painting, thereby sparing the viewer from island. Bertrand’s Cahiers lead us into a direct confrontation with the image of the room of Longwood and describe death. The advice given by Marchand Napoleon’s slow and painful death with probably explains the presence, along precision. The Grand Marshall, a devoted with the crosses of the Legion of Honour servant, comforted his master in his final and of the Iron Crown, of the Order of the moments. Reunion, as he was the only witness to mention it. Musée National des Châteaux de Malmaison et 013 Napoleon on His Deathbed de Bois-Préau, inv. M.M.40.47.2995 CARL VON STEUBEN, circa 1828 Arenenberg, Napoleonmuseum Thurgau, inv. 8542 016 Le comte Marchand, premier valet de chambre de Napoléon Ier 014 Croquis explicatif de la mort de 1814 à 1821 (Count Marchand, de Napoléon (Explanatory sketch of Napoleon’s First Valet from 1814 Napoleon’s death) to 1821) JEAN-PIERRE-MARIE JAZET, after CARL VON STEUBEN, PELLERIN (pr.), circa 1830–1831 JEAN-BAPTISTE MAUZAISSE, 1841 Paris, Musée de l’Armée, inv. 5441-2 Musée National des Châteaux de Malmaison et de Bois-Préau, inv. M.M.40.47.3326 4 THE FACE AND BODY 022 Death mask of Napoleon I, 017 Box of mementos from the exile and the return of the ashes known as the “Bertrand mask” gathered by Marchand 1821 Musée National des Châteaux de Malmaison et Inscriptions: Precious remains / de Bois-Préau, inv. M.M.40.47.7284 5 May 1821 and black wax seals from the The question surrounding the true mask library of Saint Helena must not obscure the fact that Napoleon’s Mementos from the period of exile were face became an “object”. Reproductions religiously kept by the companions and were purchased as such, and different servants of Longwood. Every single variants on the subject flourished. account of Napoleon’s daily life was Variations in the composition were incredibly valuable in what we now appreciated, either through the addition know were his final years. Collecting of an element, such as the cushion for the was therefore quite common among the mask 023, or the change of material, such people who knew him. Marchand, who as the bronze for the mask 022.
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