Napoleon is in office. After his successful coup d'état overthrowing
the French Directory in 1799, he hired a painter to commemorate his
victory. Since, Jacques-Louis David was
a friend and admirer of Napoleon, he was commissioned to paint Napoleon's
crossing of the Alps.
Let me take this moment to say that
images are very powerful—that is why some images are kept hidden from us. Images can engrain themselves in our head, etching
deep into our memory and impressing upon our thoughts and emotions. I did a quick Google search, and it appears
that, statistically speaking, it has been estimated that about 65 percent of
people are visual learners; but even so, regardless of percentages and Google
search results, all humans react to things they see. It is largely how we glean truth from any
phenomena: by what we see. And inasmuch
as art (the kind which we are looking at) comprises itself most predominantly of
images, art as propaganda can dramatically influence people; because an artist
is an image creator. Art can make people
question their government. An image can
make a person cringe at the thought of warfare.
Propaganda makes heroes and villains.
Through images, populations can be swayed to becoming followers or
enemies of rulers, governments, and belief systems. It's very powerful stuff.
Here we see Napoleon Crossing the
Alps. The future emperor of France is
sitting on a wild horse that is rearing up, but Napoleon appears calm,
resolute, and determined. He is most
clearly in charge, and if he can tame a wild beast with such ease, what might
he be able to do for the French government?
He points upward and onward, showing his courage and perseverance, and
his black, penetrating eyes seem to contain all the authority and strength of a
mighty warrior. His cape flows in the
wind elegantly, making him appear spectacular and huge. He is the picture of stunning, dominating, and
awe-inspiring grace. What's more, light
from above shines down on Napoleon, demonstrating God's favor on him. The artist glorifies this man and this scene
as something altogether epic and momentous.
Actually, Napoleon's troops took the Alps and led their leader, pictured
here, through the region only after they had secured it; and I think he rode on
a donkey. You can see, then, how
exaggerated this painting is and how it uses propaganda to support
Napoleon. But this is still a majestic
painting, to say the least, and this was how the style of art changed after the
Revolution. Majesty, rather than
frivolity, characterized the subjects of Post-Revolutionary paintings, and the
period became one of Neoclassicism.
No comments:
Post a Comment