Jacques-Louis David, ‘Napoléon se couronnant lui-même en présence du pape assis (Napoleon crowning himself in the presence of the seated pope)’, Château de Fontainebleau

Collection: Musée du Louvre, Paris

Signature: Signé en bas à gauche au crayon noir : L. David. f.

Image rights: ® RMN-Grand Palais / musée du Louvre / Thierry Le Mage

"Pius VII Faces Napoleon: The Papal Tiara in the Eagle's Talons"

Venue: Château de Fontainebleau, Fontainebleau (2015)

Bibl. : Arlette Sérullaz, n o 1748-1825, cat. exp. (Paris, musée du Louvre, département des Peintures ; Versailles, musée national du château, 26 octobre 1989 – 12 février 1990), Antoine Schnapper et Arlette Sérullaz, dir., Paris, RMN, 1989, 655 p. ; Sylvain Laveissière, no31, p. 31, in Le Sacre de Napoléon peint par David, cat. exp. (Paris, musée du Louvre, 21 octobre 2004 – 17 janvier 2005), Sylvain Laveissière, dir., Paris, musée du Louvre, 5 Continents, 2004, 200 p. Paris, musée du Louvre, département des Arts graphiques, RF 4377 173, p. 424-425, in Jacques-Louis David,

About Jacques-Louis David

The art of Jacques-Louis David is a prime example of Neoclassicism, a style of history painting that flourished in France during the late 18th- and early 19th-centuries. Reacting against the highly ornamented and florid art of the Rococo, David drew upon subjects from ancient European history and Classical civilizations, such as in the Death of Socrates (1787) and Oath of the Horatii (1784). From King Louis XVI’s execution during the French Revolution through the fall of Napoleon’s reign, David painted some of France’s most important historical figures, including royalty, radical revolutionaries (as in Death of Marat (1783)), to Emperor Napoleon himself (as in The Coronation of Napoleon (1805-07). Although David died in exile, his legacy was passed on to generations of artists, including his student Jean-Auguste-Dominique Ingres.

French, 1748-1825, Paris, France, based in Brussels, Belgium