Battle Of Austerlitz, 2 December 1805 is an oil-on-canvas painting by the French painter, François Gérard in 1810. The painting depicts the moment at the conclusion of the Battle of Austerlitz, in which the French General Jean Rapp presents to Napoleon Bonaparte, the captured Prince Repnin, commander of the Russian Imperial Guard, signifying the victory of Napoleon’s army over the combined forces of Russia and Austria. One of three paintings commissioned by Napoleon following this tremendous victory, Gérard’s stands out as the sole history painting, highlighting the bravery of the French guard (Grandee Armée) and modesty of its leader. It is currently displayed in the Gallery of the Battles, at the Palace of Versailles.[1][2]
| Battle of Austerlitz, 2 December 1805 | |
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| Artist | François Gérard |
| Year | 1810 |
| Medium | oil on canvas |
| Dimensions | 510 cm × 958 cm (200 in × 377 in) |
| Location | Palace of Versailles, Versailles |
Historical context
editGérard was commissioned to create the large canvas in 1806 with the original plan to decorate the ceiling of the Conseil d’État (French State Council). It was shown for the first time at the Paris Salon in 1810, although it was commissioned to be presented at the Salon of 1808[3]. Towards the end of the Empire, interest in large scale history paintings was declining and there was a transition to paintings filled with pageantry and splendor. The masters of this genre were Gautherot, Debret, Gérard, and Carle Vernet.[4] This painting was created during a pivotal period of French history in which art often engaged with politics, serving as propaganda for the Napoleonic Empire. Gérard’s depiction of Napoleon’s victory at the Battle of Austerlitz helped to enhance the Emperor’s reputation as a military genius and unifier of the European continent. The painting was carefully illustrated to embellish Napoleon, functioning as more than just a historical depiction, but an admiration for Napoleonic rule in France. The primary focus of the scene is the victory of the French troops, not the defeat of the enemy troops, thus highlighting the Emperor’s modesty and bravery of the army.[3]
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Gérard’s personal and professional circumstances also reflect the historical context of early 19th century France. He experienced financial struggles during Revolutionary times but ultimately found success under Napoleon rule as a portraitist for the Imperial family. Through many works prior to this painting, Gérard solidified his reputation as one of the most esteemed artists of the time. Thus, he was called upon by Napoleon to paint The Battle of Austerlitz, a work that earned him 40,000 francs.[5] His commission highlights the growing opportunities for artists of this time who aligned their interests with the regime.
For the work to function as a history painting, it cannot explicitly illustrate the battle itself, nor appear as just a battle painting.[3] Gerard’s qualifies because it depicts the moment following the conclusion of the war. The scene is set on the plateau of Pratzen, where the French guard got through Russian lines and successfully carried out the trap that Napoleon had planned for. The frozen lakes of Sokolnitz where the Russian army had fled to, leading to their drowning as the ice cracked, is assumed in the background.[3] The left side of the painting illustrates the French Guard led by General Rapp, carrying seized flags and surrounding the captured Russian Prince Repnin (dressed in white). To the right, Napoleon (dressed in blue) sits confidently on his horse, surrounded by well-dressed Generals and other prisoners.[6] From the left corner of the painting, the mythical "sun of Austerlitz" seems to illuminate the scene, as another part of the Napoleonic legend. In the field of the battle lie several injured or dead soldiers.[7][8][9]
Composition and analysis
editIn Battle of Austerlitz, December 2 1805, François Gérard showcases a well-balanced, binary composition and refined artistry that adheres to the unity of action, an essential principle of history painting.[3] The single, cohesive moment of General Rapp presenting Prince Repnin avoids the depiction of multiple events occurring at once that is often seen in the genre of war painting. The composition represents a broad and complicated form of the late Neoclassical art style that was common during the Napoleonic era. Many historians assume that it was designed in the style of Antoine-jean Gros, a prominent Romanticist painter of the time who also painted historical subjects.[3] Like Gros, Gérard was also a student of Jacques-Louis David.
Utilizing a binary composition allowed Gérard to divide the scene into two groups of characters. Scanning the painting from left to right, viewers first visualize the subjects surrounding General Rapp and Repnin and then Napoleon and his officers on the right. The division of the two groups heightens the drama of the scene as Rapp's emphatic gesture, pointing to the Russian prisoners, contrasts with Napoleon's impassivity.[3] The Emperor's calm demeanor symbolizes his leadership and collectedness amidst the violence and chaos of war while General Rapp represents the action and greatness of the moment.[4]
Lighting and color also play a significant role in directing the narrative focus and creating emotional depth in the painting. As mentioned above, the "sun of Austerlitz" irradiates most of the painting, aligning with the symbolic significance of December 2 in the Napoleonic epic.[8] The focus points of the image, General Rapp and Napoleon, stand out as the sunlight is directed on their bodies and horses. They are also easily distinguishable by the light color of their mounts. The warmness of the sunset also contrasts the light blue hues of the rising smoke in the background and enhances the canvas.[6] It is noted that Gérard received instruction from Vivant Denon, a French diplomat, to put magnificence in the outfits of the officers surrounding Napoleon, to make him stand out by his simplicity.[6]
Gérard’s refusal to illustrate gore or overly violent combat ensures that the painting is not inappropriate for the genre. For this reason, Battle of Austerlitz was especially appealing due to the good taste that critics perceived in Gérard's representation of the subject matter.[6] The illustration of injured and dead soldiers in the painting is very limited and the misfortunes of war are displayed in their most touching, not horrifying aspects. Other intricate details, like the poignancy of the wounded soldiers unable to express joy in response to General Rapp's announcement, add a humanizing touch to the scene. Finally, Gérard ingeniously structures the narrative energy of the painting like a crescendo at Napoleon's feet and accentuates the symbolic power of the illustration by directing the intense, raking light upon the Emperor and his horse against a relatively dark ground.[4]
Location
edit
In 1833, King Louis-Philippe I of France decided to convert the Palace of Versailles into a historical museum of France. The Galerie des Batailles (Gallery of the Battles) was inaugurated in 1837. In the gallery, 33 monumental canvases where displayed, depicting military episodes throughout the history of France. Gérard's canvas has been exposed there since.[10]
See also
edit- Other works by François Gérard (Selected works section)
References
edit- ^ Battle of Austerlitz, 2 December 1805, Palace of Versailles (French)
- ^ Battle of Austerlitz, 2 December 1805, POP: la plateforme ouverte du patrimoine (French)
- ^ a b c d e f g Denis, Béatrice (2022). "Représenter Austerlitz : le système icono-textuel napoléonien". RACAR : Revue d'art canadienne / Canadian Art Review (in French). 47 (1): 23–41. doi:10.7202/1091819ar. ISSN 0315-9906.
- ^ a b c Chu, Petra teb-Doesschate (1994). The Popularization of Images. Pennsylvania State University Press. pp. 126–132. ISBN 0691032106.
- ^ Lerner, Élodie (2008). "François Gérard (1770-1837) ou l'opportunité d'une belle carrière sous le règne de Napoléon IER". Napoleonica. La Revue (in French). 1 (1): 101–119. doi:10.3917/napo.081.0004.
- ^ a b c d O'Brien, David (2006). After the Revolution: Antoine-Jean Gros, Painting, and Propaganda Under Napoleon. Penn State University Press. pp. 148–150. ISBN 0271023058.
- ^ Battle of Austerlitz, 2 December 1805, Palace of Versailles (French)
- ^ a b The Battle of Austerlitz, Napoleon.org
- ^ Joséphine and the Arts of the Empire, J. Paul Getty Museum, 2005, p. 28
- ^ Battle of Austerlitz, 2 December 1805, POP: la plateforme ouverte du patrimoine (French)