Napoleon Bonaparte is associated with the 'Hand-in-waistcoat' pose as he was portrayed many times like that by which famous artist?
"Napoleon Crossing the Alps Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800. Having"
"Bonaparte, First Consul Bonaparte, First Consul (""Bonaparte, Premier Consul"") is an 1804 portrait of Napoleon Bonaparte as First Consul by Jean-Auguste-Dominique Ingres. The painting is now in the collection of the Curtius Museum in Liège. Posing the hand inside the waistcoat was often used in portraits of rulers to indicate calm and stable leadership. On 1 August 1803 Bonaparte stopped in Liège for two days on his triumphal march across the nine annexed départements. On the terrace of a hôtel particulier on the Mont-Saint-Martin, Bonaparte contemplated the city, criticising the église Saint-Jean-en-l’Isle, ordering a bell tower (which it still lacked)"
"Bonaparte at the Pont d'Arcole Bonaparte at the Pont d’Arcole () is a 1796 painting by Antoine-Jean Gros, showing an episode during the Battle of Arcole in November 1796, with General Napoleon Bonaparte leading his troops to storm the bridge. The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his sword in his right - on its blade is the inscription ""Bonaparte, Armée d'Italie"". He is dressed in the dark blue trousers and tunic of a general of the First French Republic, with a gold-embroidered red collar. Beneath them"
"Napoleon I as Emperor Napoleon I as Emperor, also known as Napoleon I in his Coronation Robes (French: ""Portrait de l’empereur Napoléon Ier en robe de sacre"") is an oil on canvas painting by the French artist François Gérard, produced in 1805 under the First French Empire. Gerard initially produced the painting as an official portrait of Napoleon I for his throne room at the Tuileries Palace. It was later moved to the Palace of Versailles. It spent time at in the Louvre Museum, at the Élysée Palace from 1849 to 1851 under the presidency of Louis-Napoléon Bonaparte, then at"
"Bonaparte Crossing the Alps Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of another, more well-known painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon Bonaparte, by French artist Paul Delaroche. The painting depicts 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. The two main versions of this painting that exist are in the Louvre in Paris and the Walker Art Gallery in Liverpool, England. Queen Victoria"
"Napoleon I on His Imperial Throne Napoleon I on his Imperial Throne () is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres. The painting shows Napoleon as emperor, in the costume he wore for his coronation, seated on a circular-backed throne with armrests adorned with ivory balls. In his right hand he holds the sceptre of Charlemagne and in his left the hand of justice. On his head is a golden laurel wreath, similar to one worn by Caesar. He also wears an ermine hood under the great collar"
"Portrait of Napoleon III Portrait of Napoleon III is an oil painting of 1861 by the French painter Jean-Hippolyte Flandrin, depicting France's Emperor Napoleon III standing in his Grand Cabinet. At its first presentation in the Universal Exhibition in 1862, the painting attracted praise for its true-to-life representation of Napoleon III. In 1853, the newly-appointed Emperor of the French Napoleon III commissioned Jean-Hippolyte Flandrin, a pupil of Jean-Auguste-Dominique Ingres and specialized painter of religious figures, to work on a standing portait of him. The Emperor, displeased by Flandrin's depiction of him, cancelled the commission, and preferred Franz Xaver Winterhalter's painting"
"1871, who eight years later gave it to the Louvre (now inventory number RF271). It passed to the château de Compiègne in 1901, then finally the Palace of Versailles in 1938 (inventory number MV 6314). Other versions at : Bonaparte at the Pont d'Arcole Bonaparte at the Pont d’Arcole () is a 1796 painting by Antoine-Jean Gros, showing an episode during the Battle of Arcole in November 1796, with General Napoleon Bonaparte leading his troops to storm the bridge. The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his"
"Self-Portrait with Beret and Turned-Up Collar Self-Portrait with Beret and Turned-Up Collar is a 1659 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. It has been noted as a self-portrayal of subtle and somber qualities, a work in which may be seen ""the stresses and strains of a life compounded of creative triumphs and personal and financial reverses"". Once owned by Andrew W. Mellon, it has been in the National Gallery of Art since 1937. In ""Self-Portrait with Beret and Turned-Up Collar"" Rembrandt is seated in a broadly painted fur cloak, his"
"same large size (2.6 x 2.2 m). Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. He is wreathed in the folds of a large cloak which billows in the wind. His head is turned towards the viewer, and he gestures with his right hand toward the mountain summit. His left hand grips the reins of his steed. The horse rears up on its back legs, its mane and tail whipped against its body by the same wind that inflates Napoleon's cloak. In background a line of the"
"Napoleon in Imperial Costume Napoleon in Imperial Costume was an 1805 portrait of Napoleon I in his coronation robes. Originally intended for the Tribuna in Genoa, Napoleon was unhappy with it and it was left incomplete. It is known via a small oil sketch now in the Palais des beaux-arts de Lille. Another version of the same subject was meant for Napoleon's brother Jérôme Bonaparte, king of Westphalia. It is now lost, but known via a copy attributed to Rouget now in the Fogg Art Museum, an incomplete canvas attributed to Sebastian Weygandt in the Staatliche Kunstsammlungen in Kassel and"
"had depicted Monet in 1875, with suit, hat and all. Just as Velázquez had used his clothes to underscore his proximity to the Spanish court, Manet's clothing shows his role as a stylish and successful Parisian artist, ""who not only in his artistic posture, but also in his appearance is quintessentially the ""painter of modern life"", of Baudelaire's description."" The unfinished right hand with the paintbrush is conspicuous in the painting. Victor Stoichiţă perceives this as Manet's intention and interprets it thusly: ""because it is an act of painting that is depicted here, it turns painting around itself like a"
"a head study in the bibliothèque Thiers. Napoleon in Imperial Costume Napoleon in Imperial Costume was an 1805 portrait of Napoleon I in his coronation robes. Originally intended for the Tribuna in Genoa, Napoleon was unhappy with it and it was left incomplete. It is known via a small oil sketch now in the Palais des beaux-arts de Lille. Another version of the same subject was meant for Napoleon's brother Jérôme Bonaparte, king of Westphalia. It is now lost, but known via a copy attributed to Rouget now in the Fogg Art Museum, an incomplete canvas attributed to Sebastian Weygandt"
"Antoine-Jean Gros Antoine-Jean Gros (16 March 177125 June 1835), titled as Baron Gros in 1824, was a French painter. His work was in the genres of history and neoclassical painting. Gros studied under Jacques-Louis David in Paris and began an independent artistic career during the French Revolution. Forced to leave France, he moved to Genoa and witnessed the nearby Battle of Arcole (1796). Inspired by an event during the battle, he produced a portrait of the French commander, Napoleon Bonaparte, then a newly promoted general. The portrait brought Gros to public attention and gained the patronage of Napoleon. After travelling"
"The Valpinçon Bather The Valpinçon Bather (Fr: La Grande Baigneuse) is an 1808 painting by the French Neoclassical artist Jean Auguste Dominique Ingres (1780–1867), held in the Louvre since 1879. Painted while the artist was studying at the French Academy in Rome, it was originally titled Seated Woman but later became known after one of its nineteenth-century owners. Although the painting was not met with favour by critics when first exhibited, almost fifty years later, when the artist's reputation was well established, the Goncourt brothers wrote that ""Rembrandt himself would have envied the amber color of this pale torso"", while"
"simple roundness of faces and limbs. French painters Jacques-Louis David and Jean-Auguste-Dominique Ingres demonstrated virtuosity in this draftsman-like technique as well as a keen eye for character. Ingres, a student of David, is notable for his portraits in which a mirror is painted behind the subject to simulate a rear view of the subject. His portrait of Napoleon on his imperial throne is a tour de force of regal portraiture. (see Gallery below) Romantic artists who worked during the first half of the 19th century painted portraits of inspiring leaders, beautiful women, and agitated subjects, using lively brush strokes and"
"over Winhalter's coronation portrait. By 1884, Flandrin's painting was returned to the French government and displayed in the Palace of Versailles. Portrait of Napoleon III Portrait of Napoleon III is an oil painting of 1861 by the French painter Jean-Hippolyte Flandrin, depicting France's Emperor Napoleon III standing in his Grand Cabinet. At its first presentation in the Universal Exhibition in 1862, the painting attracted praise for its true-to-life representation of Napoleon III. In 1853, the newly-appointed Emperor of the French Napoleon III commissioned Jean-Hippolyte Flandrin, a pupil of Jean-Auguste-Dominique Ingres and specialized painter of religious figures, to work on a"
"François Kinson François-Joseph Kinson (Dutch: Franciscus Josephus Kinsoen) (Bruges 29 January 1770 - 18 October 1839), was a Flemish painter. Kinson attended art school at Bruges and soon established a reputation in Ghent and Brussels. He exhibited a portrait in Paris in 1799. Settled in Paris from 1794 on, the artist courted the favor of the rich and famous of the time. He worked for Napoleon’s court and eventually became court painter to Jérôme Bonaparte, King of Westphalia. Kinson is best remembered for his portraits of elegant women. The artist continued to work in Paris, but died unexpectedly during a"
"historical painting choosing Napoleon for his condition of archetypical character and the popular representation of madness, a man characterized like Napoleon. He later established the relation Insane=Napoleon=Artist, for there is a deep rooted tradition about the image of the artist being very close to a dark zone. In 1988 he exhibited at the Beau Lézard of Paris, at the Moderna Museum of Stockholm, at the Terne Gallery of New York during a tribute to Roland Barthes, and at the newly opened Iberoamerican Cooperation Institute (ICI). From 1989 to 1992 he exhibited his works in New York City, São Paulo, Madrid,"
"Self-Portrait with a Friend The Self-Portrait with a friend (also known as Double Portrait) is a painting by Italian High Renaissance painter Raphael. It dates to 1518–1520, and is in the Louvre Museum of Paris, France. Whether the figure on the left is actually a self-portrait by Raphael is uncertain, although it was already identified as such in a 16th-century print. The identity of the man portrayed before Raphael is unknown. Traditionally he was identified as his fencing master, since he holds the hilt of a sword. Modern art historians consider him as a close friend, or possibly one of"
"contain many figures, but are firmly centred on the heroic figure of the artist. One of the most famous and most prolific of self-portraitists was Vincent van Gogh, who drew and painted himself more than 43 times between 1886 and 1889. In all of these self-portraits one is struck that the gaze of the painter is seldom directed at us; even when it is a fixed gaze, he seems to look elsewhere. These paintings vary in intensity and color and some portray the artist with bandages; representing the episode in which he severed one of his ears. The many self-portraits"
"Still Life with Head-Shaped Vase and Japanese Woodcut Still Life with Head-Shaped Vase and Japanese Woodcut is an 1889 still life painting by French artist, Paul Gauguin. It is currently in the collection of the Museum of Contemporary Art in Tehran, Iran. In 1888 and 1889 Gauguin's enthusiasm for Japanese ukiyo-e woodcuts emerged. Japanese prints appeared in the background of his ""Apple and Vase"" painting, his portrait of ""The Schuffenecker Family"" and also ""Still Life with Head-Shaped Vase and Japanese Woodcut"", which depicts an ukiyo-e portrait of an actor. The painting was formerly owned by Josef Rosensaft, a Holocaust survivor"
"different. The ""Self Portrait with Bandaged Ear and Pipe"" has become more widely accepted in academia as one of Van Gogh’s authentic paintings. Self-Portrait with Bandaged Ear Self-Portrait with Bandaged Ear is an 1889 self-portrait by Dutch, Post-Impressionist artist Vincent van Gogh. In this self-portrait, Van Gogh is shown wearing a blue cap with black fur and a green overcoat, with a bandage covering his ear and extending under his chin. He is in a traditional three-quarter view, and his forward gaze falls slightly to the right, out of the frame. Behind him is an open window, assumedly letting in"
"Bonaparte Before the Sphinx Bonaparte Before the Sphinx () is an 1886 painting by the French artist Jean-Léon Gérôme. It is also known as ""Oedipus"" (""Œdipe""). It depicts Napoleon Bonaparte during his Egyptian campaign, positioned on horseback in front of the Great Sphinx of Giza, with his army in the background. The painting was presented at the 1886 Salon under the title ""Œdipe"", evoking the myth of Oedipus and the Sphinx. It popularised Napoleon in front of the Sphinx as a subject in art. It is located at the Hearst Castle in California. ""The New York Times"" wrote from the"
"been the same model). More open sensuality was seen as acceptable in the exotic Orient. This imagery persisted in art into the early 20th century, as evidenced in Henri Matisse's orientalist semi-nudes from his Nice period, and his use of Oriental costumes and patterns. Ingres' pupil Théodore Chassériau (1819–1856) had already achieved success with his nude ""The Toilette of Esther"" (1841, Louvre) and equestrian portrait of ""Ali-Ben-Hamet, Caliph of Constantine and Chief of the Haractas, Followed by his Escort"" (1846) before he first visited the East, but in later decades the steamship made travel much easier and increasing numbers of"
"Self-Portrait with Bandaged Ear Self-Portrait with Bandaged Ear is an 1889 self-portrait by Dutch, Post-Impressionist artist Vincent van Gogh. In this self-portrait, Van Gogh is shown wearing a blue cap with black fur and a green overcoat, with a bandage covering his ear and extending under his chin. He is in a traditional three-quarter view, and his forward gaze falls slightly to the right, out of the frame. Behind him is an open window, assumedly letting in a winter breeze, a canvas on an easel, with a few indistinguishable marks, as well as a Japanese woodblock print. This woodblock print"
"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: 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: Bonaparte Crossing the Alps Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of another, more well-known painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon"
"visit he made to his sisters in Bruges in 1839, at the age of 68. MIR Appraisal. http://www.mirgallery.com/resources/index.aspx?category=artists&id=kinson1 François Kinson François-Joseph Kinson (Dutch: Franciscus Josephus Kinsoen) (Bruges 29 January 1770 - 18 October 1839), was a Flemish painter. Kinson attended art school at Bruges and soon established a reputation in Ghent and Brussels. He exhibited a portrait in Paris in 1799. Settled in Paris from 1794 on, the artist courted the favor of the rich and famous of the time. He worked for Napoleon’s court and eventually became court painter to Jérôme Bonaparte, King of Westphalia. Kinson is best remembered"
"of Napoleon Bonaparte. He also made other neoclassical works that often approached eroticism and romanticism. Gustave Flaubert wrote of him: ""This is a great artist, a true Greek, the most antique of all the moderns; a man who is distracted by nothing, not by politics, nor socialism, and who, like a true workman, sleeves rolled up, is there to do his task morning til night with the will to do well and the love of his art."" He was largely forgotten after the Louis Philippe period. Another notable sculptor from the older generation was David d'Angers (1788-1856) who had studied"
"on the gondolier, Manet used multiple strokes of color to create a three-dimensional effect. Claude Monet (1840–1926), a prominent leader of the Impressionist movement, stressed the importance of working outdoors and letting art illustrate the color and movement of the natural environment. Five landscapes by Monet are included in the Museum’s collection. In the 1880s and 1890s Monet captured the changing effects of natural light by creating series of paintings of the same subject in different weather and light conditions. His ""Haystacks in the Snow"" is part of a series of over thirty paintings of haystacks. Pastels, soft, colorful chalks,"
"and is conserved in the Louvre. Among his pupils was the portrait draughtsman Louis Letronne (1790–1842), whose pencil portrait of Ludwig van Beethoven is iconic. Nicolas-André Monsiau Nicolas-André Monsiau (1754 – 31 May 1837) was a French history painter and a refined draughtsman who turned to book illustration to supplement his income when the French Revolution disrupted patronage. His cool ""Poussiniste"" drawing style and coloring marked his conservative art in the age of Neoclassicism. His training at the school of the Académie royale de peinture et de sculpture, Paris, was under the direction of Jean-François Pierre Peyron. An early patron,"
"The Boy in the Red Vest The Boy in the Red Vest (""Le Garçon au gilet rouge""), also known as ""The Boy in the Red Waistcoat"", is a painting (Venturi 681) by Paul Cézanne, painted in 1889 or 1890. It is a fine example of Cézanne's skilled, nuanced, and innovative mature work after 1880. Cézanne painted four oil portraits of this Italian boy in the red vest, all in different poses, which allowed him to study the relationship between the figure and space. The most famous of the four, and the one commonly referred to by this title, is the"
"A British captain who met him in 1815 stated ""I felt very much disappointed, as I believe everyone else did, in his appearance ... He is fat, rather what we call pot-bellied, and although his leg is well shaped, it is rather clumsy ... He is very sallow, with light grey eyes, and rather thin, greasy-looking brown hair, and altogether a very nasty, priestlike-looking fellow."" The stock character of Napoleon is a comically short ""petty tyrant"" and this has become a cliché in popular culture. He is often portrayed wearing a large bicorne hat with a hand-in-waistcoat gesture—a reference to"