Modern Era – Image List 1. Title 2. Antoine-Jean Gros, Portrait Of

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Modern Era – Image List 1. Title 2. Antoine-Jean Gros, Portrait of Napoleon on the Bridge at Arcole, oil on canvas, 1796 3. Antoine-Jean Gros, Napoleon visiting the Plague-stricken at Jaffa, oil on canvas, 1799 4. Jacques-Louis David, Napoleon, Calm on a Fiery Steed, oil on canvas, 1801 5. Jean-Auguste-Dominique Ingres, Portrait of Napoleon Bonaparte as First Consul, oil on canvas, 1804 6. Jacques-Louis David, The Coronation of Napoleon (also known as The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine on December 2, 1804), oil on canvas, 1805-08, Height ca. 20.4 ft Width ca. 32 ft. 7. Jean-Auguste-Dominique Ingres, Napoleon I on the Imperial Throne, oil on canvas, 1806 (Musee de l’Armee at Les Invalides) 8. Jacques-Louis David, Napoleon in his Study, oil on canvas, 1812 9. Jean-Baptiste Lepère and Jacques Goudouin plus a team of sculptors, “Vendome Column” or Colonne de la Grande Armée, stone and bronze, inaugurated Aug. 15, 1810 10. Percier and Fontaine, Arc de Triomphe du Carrousel, 1806-1808 11. Jean-François Chalgrin, Arc de Triomphe, 1806-1836 12. Pierre Vignon, La Madeleine, Paris, 1807-42 13. quote 14. Alfredo Ambrosi, AeroPittura di Mussolini, oil on canvas, 1930 (Giacomo Balla, Dynamism of a Dog on a Leash, oil on canvas, 1912) 15. Alessandro Bruschetti, Sintesi Fascista, oil on plywood, 1935 16. Renato Bertelli, Profilo continuo del Duce, ceramic, 1933 17. Mussolini Dux, marble, 1932 18. Heinrich Knirr. Hitler, poster based on his original oil painting, 1935 19. Heinrich Knirr, Hitler, oil on canvas, 1937 20. Franz Thiele, Hitler in Front of a Cheering Crowd, oil, 1938 21. Adolph Wissel, Farm Family from Kahlenburg; Arno Brekker, Readiness, bronze, 1939 22. Isaac Izraelivich Brodski, Vladimir Ilich Lenin, oil on cardboard, 1924 23. Artist unknown, Stalin’s First Five Year Plan, ca. 1930 24. Boris Iremeevich Vladimirski, Roses for Stalin, oil on canvas, 1949 (Socialist Realism) 25. Otakar Svec, Stalin Monument in Prague .

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No. 148 Patric Jean, Napoléon, David
H-France Review Volume 6 (2006) Page 641 H-France Review Vol. 6 (December 2006), No. 148 Patric Jean, Napoléon, David: The Image Enthroned. Brooklyn, N.Y.: First Run / Icarus Films, 2005. VHS, 51 minutes. Color and black and white. $390.00 U.S. Review by Wayne Hanley, West Chester University of Pennsylvania. Few people in history have understood the political and propagandistic potential of visual imagery more than either Napoleon Bonaparte or the artist Jacques-Louis David. During the Revolution, David’s paintings were hailed for their revolutionary import, and his public festivals, such as the Fête of the Supreme Being, helped to spread revolutionary ideology to the masses. Napoleon made careful use of artists such as Antoine-Jean Gros, Andrea Appiani and David to help create his public image and ultimately to enable his coup d’état of 18-19 Brumaire (9 November 1799) and the creation of the empire.[1] It should not be surprising, then, that in 1804, Napoleon named David “First Painter of the Empire” and commissioned him to memorialize the coronation with a series of four paintings, the most famous of which is The Coronation of Napoleon I, the subject of this documentary. This monumental canvas represents the last of David’s propagandistic pieces, and in many ways it is his greatest. In it, as the Belgian writer and director Patric Jean ably demonstrates in his documentary Napoléon, David: The Image Enthroned, one can see all the grandeur (and illusion) of the Napoleonic Empire. Jean, whose previous documentaries include La raison du plus fort (which explores the social and cultural issues of immigration, race, and crime), sets the stage of this documentary with a discussion of David’s artistic and political background, of Napoleon’s meteoric rise to power, and of the relationship between the artist and the future emperor.
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The Crown Jewel of Divinity : Examining How a Coronation Crown Transforms the Virgin Into the Queen
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2020 The Crown Jewel of Divinity : Examining how a coronation crown transforms the virgin into the queen Sara Sims Wilbanks Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Wilbanks, Sara Sims, "The Crown Jewel of Divinity : Examining how a coronation crown transforms the virgin into the queen" (2020). MA Theses. 63. https://digitalcommons.sia.edu/stu_theses/63 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The Crown Jewel of Divinity: Examining How A Coronation Crown Transforms The Virgin into The Queen By Sara Sims Wilbanks A thesis submitted in conformity with the requirements for the Master’s Degree in Fine and Decorative Art & Design Sotheby’s Institute of Art 2020 12,572 words The Crown Jewel of Divinity: Examining How A Coronation Crown Transforms The Virgin into The Queen By: Sara Sims Wilbanks Inspired by Italian, religious images from the 15th and 16th centuries of the Coronation of the Virgin, this thesis will attempt to dissect the numerous depictions of crowns amongst the perspectives of formal analysis, iconography, and theology in order to deduce how this piece of jewelry impacts the religious status of the Virgin Mary.
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Napoleon's Talisman
The Talisman of Napoleon Bonaparte by G. Randall Jensen The Napoleon Bonaparte Crystal Talisman Summary Napoleon Bonaparte’s personal good luck charm Inspired by the original signet ring of Napoleon’s hero, Emperor Augustus Caesar, whose stamp displayed the image of a sphinx Commissioned by Napoleon after his return from his historic Egyptian campaign The 114 precious jewels are arranged in a secret code to reflect both Napoleon’s successful military & political career and his love for Josephine The initials of “Napoleon Bonaparte” and “Josephine Bonaparte” are coded into the design The encoded date, August 15, 1802, commemorated the simultaneous nationwide celebration of Napoleon’s 33rd birthday, his elevation to Lifetime Consulate status, and the one-year anniversary of the signing of the Concordat The face of the crystal sphinx is that of Josephine sculpted into the pose of one of Napoleon’s favorite paintings: The Mona Lisa Quartz crystal was a material incorporated into the design of ancient Egyptian temples and pyramids Few objects outside of Egypt had ever been sculpted from quartz crystal Lost for nearly 200 years A complex treasure of significant historical importance Copyright 2011 G. Randall Jensen 1 As a means of introducing this interesting and complex piece, let us first take a brief look at the background of Napoleon Bonaparte, the famous Emperor of the French. Napoleon Bonaparte was considered by many to be the most influential figure in European history. Currently, descendents of Napoleon’s wife, Josephine, include the Royal families of Sweden, Denmark, Belgium, Norway, and Luxembourg. 2 NAPOLEON TIMELINE 1769 Born 1793 Promoted to Brigadier General 1796 Married Josephine de Beauharnais 1798-1799 Egyptian expedition 1799 Assumed provisional control of France 1802 Elected to Lifetime Consulate status 1804 Crowned Emperor 1815 Defeat at Waterloo 1821 Dies in exile After Napoleon returned from Egypt in 1799, he commissioned this spectacular sculpted and jeweled piece of artwork.
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The Talisman of Napoleon Bonaparte
The Talisman of Napoleon Bonaparte by G. Randall Jensen The Napoleon Bonaparte Crystal Talisman Summary For information regarding the auction of Napoleon’s Talisman please go to: www.napoleonstalisman.com Napoleon Bonaparte’s personal good luck charm Inspired by the original signet ring of Napoleon’s hero, Emperor Augustus Caesar, whose stamp displayed the image of a sphinx Commissioned by Napoleon after his return from his historic Egyptian campaign The 114 precious jewels are arranged in a secret code to reflect both Napoleon’s successful military & political career and his love for Josephine The initials of “Napoleon Bonaparte” and “Josephine Bonaparte” are coded into the design The encoded date, August 15, 1802, commemorated the simultaneous nationwide celebration of Napoleon’s 33rd birthday, his elevation to Lifetime Consulate status, and the one-year anniversary of the signing of the Concordat The face of the crystal sphinx is that of Josephine sculpted into the pose of one of Napoleon’s favorite paintings: The Mona Lisa Quartz crystal was a material incorporated into the design of ancient Egyptian temples and pyramids Few objects outside of Egypt had ever been sculpted from quartz crystal Lost for nearly 200 years A complex treasure of significant historical importance Copyright 2011 G. Randall Jensen 1 As a means of introducing this interesting and complex piece, let us first take a brief look at the background of Napoleon Bonaparte, the famous Emperor of the French. Napoleon Bonaparte was considered by many to be the most influential figure in European history. Currently, descendents of Napoleon’s wife, Josephine, include the Royal families of Sweden, Denmark, Belgium, Norway, and Luxembourg.
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The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF HISTORY NAPOLEON IN THE NINTEENTH CENTURY AMERICAN CONSCIOUSNESS MADISON KANTZER Spring 2010 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in History and Art History with honors in History Reviewed and approved* by the following: Mark Neely McCabe Greer Professor of History Thesis Supervisor Catherine Wanner Associate Professor of History and Religious Studies Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This thesis examines the role of Napoleon Bonaparte in the nineteenth century American consciousness, and the different aspects of the French emperor that were emphasized by different factions of American society. The figure of Napoleon Bonaparte was especially prominent in the American consciousness during the War of 1812 and the Antebellum and Mexican War Eras, two periods in which Americans struggled to determine what it mean to be a republic as they struggled to define themselves in relation to the powers of Europe. As the European figure that figured most prominently in the American political and popular culture, Napoleon became instrumental in helping different elements of American society articulate ideals and maxims they wished to apply to the evolving republic. To different elements of American society Napoleon represented completely opposite ideals, either the ultimate threat to the fledgling America republic, or the ultimate example of heroics and military might. He became the antithesis of manhood or the ideal to which young men should aspire. The way in which Americans envisioned Napoleon in the eighteenth century thus reflects the way in which they envisioned an ideal American society and its leaders.
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Illustrated Timeline
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Art of the 20Th Century and the New Millennium
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In Majesty an Exhibition from 1 March to 19 June 2011 2
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Napoleon and Henry Iv
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A&£.1.76''7 24 * L &c^ * OBSERVATIONS IN EUROPE. OBSERVATIONS IN EUROPE; PRINCIPALLY IN FRANCE AND GREAT BRITAIN. BY JOHN P. DURBIN, D. D., PRESIDENT OP LIORINSON C'OLLEOE, U. S. A NEW AND COMPLETE EDITION. ABERDEEN: PUBLISHED BY GEORGE CLARK AND SON. LONDONS. RICHARDSON, 9, DEVONSHIRE STREET. UD<}wx.irm, S? Ck' v v,^ R Vi'- -_^ 9^ 4- --??auS -y 9? Vy P /vj 0y ’ < PREFACE Without making an apology for doing what I might have left undone, viz, writing this book, I deem it right to give my reader a word or two of explanation as to the circumstances under which it was prepared. When I left home my thoughts were full of the East, and I confess it was my de- sign to inflict a book of travels in that interesting region upon the patience of my friends in the Western world. In Egypt, Arabia, Palestine, Asia Minor, and even in Greece, I thought new material enough might be found to allow me to say some- thing without going over topics already worn out. While in those countries, be- sides noticing the ordinary objects that excite the attention of the traveller, I made careful inquiry, so far as my opportunities allowed, into the state of the Greek and Armenian churches, and the condition of the Turkish Empire, now so intimately connected with the state of Christianity in the East. My letters suggested these topics to my friends at home, and they had reason to expect that I would treat them, on my return, more at length, and in a more permanent form.
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