Napoleon, Art & Power

The Louvre began construction in the late 12th century as a palace for King Philip II. The fortress that once surrounded it is partially visible when you visit the basement of the museum today. 

Since royalty would spend so much of their time in the building, they kept their art there. The 16th century king Francis I began seriously building a collection, and it grew with each subsequent generation.

By chance, it housed the royal art collection. This was necessarily a private collection, but starting in the 18th century, people were calling for public displays of art. Believe it or not, nothing like the modern art museum existed yet. 

Over the century, a plan developed to make the royal art collection public, but they never actually went anywhere. That is until the French Revolution.

A year later, August of 1793, the Louvre was opened to the public, presenting the people with fine art gathered not only from the royal collection but also from the confiscated collections of aristocrats. 

The noble desire to give the public free access to the world of art would radically change society’s relationship to both individual works and artists. But it also opened the door for using art and its theft as a tool of propaganda.

This started almost immediately. When France invaded what is now Belgium during the Revolutionary Wars, they stormed a church in Antwerp and stole The Raising of the Cross by Peter Paul Rubens. This impeccable masterpiece was known throughout Europe as one of the greatest works of art ever created. Its prestige made it the perfect spoil of war, and the Louvre was the perfect trophy case to place it.

But the political situation in France was also giving rise to a political mastermind who would use art for his political advantage more than any leader before him.

In the example, Napoleon's suffered many losses in Jaffa in Israel. His army was infected. Many French soldiers were sick and died from diseases.

However, back to Paris, the French people will see this painting of Napoleon caring about his soldiers, even touching the infected soldier.

Look at his clothing, Napoleon is not a conqueror, he adapts to the local costumes and blend into the Oriental countries.

While the man behind him is afraid of diseases, covering his mouth with a tissue, Napoleon Bonapart, in contrast, tends his hand, gloves off, caressing the wounded and the infected. 

Napoleon is standing in a posture of a Savior, his eyes, gently reassuring his sick hero. Some even kneeling to him, begging for Napoleon to heal him. 

This use of art as a tool of propaganda would reach its height with Napoleon’s relationship with Jacques-Louis David (Red rooms) — one of the greatest European artists of all time. By utilizing David’s power as a painter, Napoleon ensured his own victory in the public eye.

The first major collaboration between the two is no doubt Napoleon Crossing the Alps (1801). In this striking image, a golden caped Napoleon is commanding from a white horse who is raising its front hooves up in a moment of peak drama. The brave leader points upward over the mountains before him. And at his feet, a stone reads “Bonaparte” and below it “Hannibal”, a sign that a great man of history was also here.

The painting romanticizes the actual crossing of the Alps a year before by Napoleon and his army. But it not only documents, it sends a message: "this is a brave and daring man, a true leader, and the best hope for French victory".

The finishing work promotes the idea that Napoleon was a supreme leader above all other authority. After all, the Pope is standing behind the new Emperor, and it is Napoleon who crowns himself — as if there were no one on Earth who had the authority to do so. That extremely bold symbolism was lost on no one at the time.

Joséphine was a major influence on Napoleon, teaching him how much art could change the opinions of others — a valuable tool in politics. In the Gros painting discussed above (Bonaparte at the Pont d'Arcole), it was Joséphine who commissioned it, and she even had to sit Napoleon in her lap and hold him still so that he could pose long enough for the painting to be completed.

She continued as a generous patron of the arts in her role as Empress. In fact, her patronage and prominence as a collector helped define the Empire style.

The Napoleon III apartments are striking in their absolute, over-the-top maximalism, a mix of many styles : Every inch is detailed, adorned, or somehow made active through the tireless efforts of artisans. 

The interior design brings together a dizzying number of wallpaper patterns, gilding, frescoes, glittering chandeliers, and magnificent rugs, not to mention many individual works of art. 

The architecture, interior design, and decorative arts on display in the Napoleon III apartments can not be understated. This is a must visit feature that you can include in our Advanced Louvre guided Tour.