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Conclusion Throughout this essay I have explored the life of Napoleon and chosen key paintings that were used to celebrate him as an individual. The Neoclassical style of these paintings all involved the idealised forms and classical references. Napoleon utilised these classical references by depicting himself in association with these heroic figures. Apart from Napoleon on the field of Eylau, these paintings all created a smooth surface with no visible brush strokes, this added to the drama of the painting by creating a realistic world drawing the viewer in. Napoleon manipulated these features in the creation of a body of work that displays him in a heroic way. Napoleon used the language of history painting to create contemporary historical documents that people believed. This was seen in the house of Jaffa, with the imitation of Apollo. The use of neoclassicism also allowed artists to associate Napoleon with greater past leaders. It was also seen in the portraits of Napoleon, first by David in Napoleon crossing the Alps where he was associated with Hannibal, and in Ingres portrait of Napoleon on his Imperial Throne, he was likened to Jupiter and also the French monarchy. All these aspects helped Napoleons rise because the French citizens saw him as a heroic and strong leader. Overall Napoleon utilised the Neoclassical style to fuel his character and identity throughout his reign. 17
References Palmer, L, A., (2011) ‘Historical Dictionary of Neoclassical Art and Architecture’. Plymouth: Scarecrow Press. Napoleon on his Imperial Throne, accessed at https://www.khanacademy.org, Bryan Zygmont BBC, (2017), Iwonder Napoleon I. Hart-Davis, A,. (2007) ‘History the definitive visual guide’. London: Dorling Kindersley Limited. Black, J,. (1999) ‘World History Atlas’. London: Dorling Kindersley Limited. Mapcollection.worldpress.com, (2017), Napoleon’s Empire 1810. simonsundarajkeun.wordpress.com, (2017), Gros, Battle of Eylau. Bibliography Gros, Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa, accessed at www.khanacademy.org, (2017) 18
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