Bonaparte Crossing the Alps (sometimes called Napoleon Crossing the Alps, which is also the title of Jacques-Louis David's better-known version of the subject) is a 1848–1850 oil painting by French artist Paul Delaroche. The painting depicts Napoleon Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800 in an attempt to surprise the Austrian army in Italy. Several versions of this painting exist: in the Louvre- Lens and the Walker Art Gallery in Liverpool, England. Queen Victoria owned a small version of it.

The work was inspired by Jacques-Louis David's series of five paintings of Napoleon Crossing the Alps (1801–1805), which present a glorified vision of Napoleon "calm on a spirited horse" rather than a mule, crossing Great St. Bernard Pass.

Painting

Historical background

As part of his 1798 campaign during the French Revolutionary Wars, Napoleon prepared to invade and conquer Egypt, which was at the time a province of the Ottoman Empire. Such a military action promised numerous benefits, including securing French trade interests, and inhibiting British access to India. By 1 July 1798, Napoleon had landed on the shores of Egypt. After a lengthy chain of conflicts with heavy casualties, the campaign resulted in an Ottoman-British victory. Napoleon received news from France that Austrian forces had retaken Italy and he decided to return to Paris.

In order to regain the upper hand, he planned to launch a surprise assault on the Austrian army stationed in the Cisalpine Republic. Based on the assumption the Austrians would never expect Napoleon's large force to be able to traverse the Alps, he chose that as his route. He selected the shortest route through the Alps, the Great St Bernard Pass, which would enable him to reach his destination as quickly as possible.

On 15 May 1800, Napoleon and his army of 40,000—not including the field artillery and baggage trains—(35,000 light artillery and infantry, 5,000 cavalry) began the arduous journey through the mountains. During the five days spent traversing the pass, Napoleon's army consumed almost 22,000 bottles of wine, more than a tonne and a half of cheese, and around 800 kilograms of meat.

After crossing the Alps, Napoleon commenced military operations against the Austrian army. Despite an inauspicious start to the campaign, the Austrian forces were driven back to Marengo after nearly a month. There, a large battle took place on 14 June, which resulted in the Austrian evacuation of Italy.

Artist and commission

Delaroche, who studied with Antoine-Jean Gros, a protege of David, was a popular French painter of portraits and grand subjects from history and the Bible.

The Liverpool painting was commissioned by Arthur George, Third Earl of Onslow, after Delaroche and George reportedly visited the Louvre in Paris, where they saw David's version of the famous event. It had only recently been re-hung in the museum after a resurgence of interest in Napoleon, nearly 40 years after he was exiled. Agreeing that the painting was unrealistic, George, who owned a sizable collection of Napoleonic paraphernalia, commissioned Delaroche to create a more realistic depiction. Elizabeth Foucart-Walker asserts that in fact the painting that hangs in the Louvre-Lens was produced first as it was already in America by 1850, when the Liverpool painting was produced. Stephen Bann suggests that Arthur George's meeting with Delaroche may have occurred, but Delaroche chose to produce two works that are almost identical and send one to America.

Delaroche's picture of Napoleon crossing the Alps

Unconscious of the dreary wastes around, Of sleet that pierces with each fitful blast, The icy peaks, the rough and treacherous ground, Huge snow-drifts by the whirlwind's breath amassed, Through which the jaded mule with noiseless tread, Patient and slow, a certain foothold seeks, By the old peasant-guide so meekly led; Moves the wan conqueror, with sunken cheeks, O'er heights as cold and lonely as his soul,- The chill lips blandly set, and the dark eyes Intent with fierce ambition's vast control, Sad, keen and thoughtful of the distant prize; With the imperial robes and warlike steed, That face ne'er wore such blended might and need! — H.T. Tuckerman's poem, describing Delaroche's portrayal.

Reception

The work, despite its attempt to depict Napoleon realistically, was criticised by several authorities for a variety of reasons. A few disapproved of Delaroche's choice of painting, while others disapproved of Delaroche himself, saying, in some form, that he sought the genius of Napoleon, to no avail.

Soon after its completion, the work was taken to England, and there, in 1850, it was reviewed by the critic of the Atheneum, a literary magazine. The magazine's comments on the work indicated that, while they praised the painting for several of its features, they criticised Delaroche, for various reasons:

An Officer in a French costume, mounted on a mule, is conducted by a rough peasant through a dangerous pass, whose traces are scarcely discernible through the deep-lying snow; and his aide-de-camp is just visible in a ravine of the towering Alps. These facts are rendered with a fidelity that has not omitted the plait of a drapery, the shaggy texture of the four-footed animal, nor a detail of the harness on his back. The drifting of the embedded snow, the pendent icicle which a solitary sun-ray in a transient moment has made-all are given with a truth which will be dear to those who exalt the Dutch School for like qualities into the foremost rank of excellence. But the lofty and daring genius that led the humble Lieutenant of Ajaccio to be ruler and arbiter of the destinies of the larger part of Europe will be sought in vain by M. Delaroche.

Some were displeased with Delaroche's work at the time in general, and, in part, Bonaparte Crossing the Alps, criticising what was described as his 'lowered standards in art'. Such critics included The Gentleman's Magazine, who wrote the following text about Delaroche:

These all reveal a modification in his style, but not a happy one. His more recent works are not calculated to restore him the sympathy he had lost. It must be confessed that Delaroche is an artist of talent rather than a genius. Education and diligent study qualified him to be a painter, but not an artist, in the true sense of that word. For he has failed in the true mission of the artist-that of advancing the education of the masses; when it was in his power to give an impulse, he yielded to it; he has been a reflection, but not a light; and instead of elevating the public to himself, he has lowered himself to the public.