All Baron Antoine-Jean Gros Oil Paintings

1771-1835 French Baron Antoine-Jean Gros Galleries The son of a painter, Antoine Jean Gros was born in Paris on March 16, 1771. At the age of 14 he entered the studio of Jacques Louis David, the acknowledged leader of the classical revival. Although his own work became radically different from David's, he maintained a lifelong respect for his teacher and envisioned himself as the upholder of the Davidian tradition. In 1787 Gros entered the Acad??mie de Peinture, and when the Acad??mie dissolved in 1793 (a result of the French Revolution) he went to Italy. He met Josephine Bonaparte in Genoa in 1796, and she introduced him to Napoleonic society. Gros entered Napoleon's immediate entourage and accompanied him on several north Italian campaigns. Gros also became involved with Napoleon's program of confiscating Italian art for removal to France. Gros returned to Paris in 1800 and began to show his Napoleonic paintings in the annual Salons. The most famous of these are the Pesthouse at Jaffa (1804) and Napoleon at Eylau (1808). These works served to deify Napoleon, showing him engaged in acts of heroism and mercy. Stylistically, the paintings were revolutionary:their exotic settings, rich color, agitated space, and general penchant for showing the gruesome specifics of war and suffering differed radically from the cool generalizations of Davidian classicism that Gros had learned as a student. The presentation of contemporary historical events was also new, a harbinger of the realism that developed steadily during the first half of the 19th century in French, American, and English painting. Finally, the emphatic emotionalism of Gros's art established the foundation of romantic painting that Th??odore G??ricault and Eug??ne Delacroix developed after him. Unlike that of some of his countrymen (David is a case in point), Gros's position did not suffer after the fall of Napoleon. Gros painted for the restored monarchy, for instance, Louis XVIII Leaving the Tuileries (1817), and he decorated the dome of the Panth??on in Paris with scenes of French history (1814-1824). For this Charles X made him a baron in 1824. But these works lack the zest and commitment of Gros's Napoleonic period, perhaps because they were not based on the immediate kinds of historical experiences that had inspired the earlier paintings. Although marked by considerable public success, Gros's later career was in many ways acutely troubled. Basically, he could not resolve his personal esthetic theories with his own painting or with the work of his younger contemporaries. To the end Gros wished to propagate the classicism of David, and he took over David's studio when the master was exiled in 1816. By the 1820s, however, the revolutionary romanticism of G??ricault and Delacroix, among others, had clearly begun to eclipse classicism, and Gros found himself fighting a lonely and losing battle for conservatism. Ironically, he was fighting a trend that his own best work had helped to originate. As he persisted, moreover, his own painting began to show a diffident mixture of classic and romantic attitudes. Thus, while he was inherently a romantic, he tragically came to doubt himself. Gros died on June 26, 1835, apparently a suicide.
 

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Baron Antoine-Jean Gros Napoleon on the Battlefield at Eylau on 9 February 1807 (mk05) oil on canvas


Napoleon on the Battlefield at Eylau on 9 February 1807 (mk05)
Napoleon on the Battlefield at Eylau on 9 February 1807 (mk05)
Painting ID::  20824
  Canvas 205 x 308 1/2''521 x 784 cm)Commissioned following a competition held in 1807;Salon of 1808 INV 5065 (G/AR)
  Canvas 205 x 308 1/2''521 x 784 cm)Commissioned following a competition held in 1807;Salon of 1808 INV 5065 (G/AR)

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Baron Antoine-Jean Gros Napoleon on the Battlefield at Eylau (mk09) oil on canvas


Napoleon on the Battlefield at Eylau (mk09)
Napoleon on the Battlefield at Eylau (mk09)
Painting ID::  21306
  February 9 1807,1808 Oil on canvas ,533 x 800 cm Paris,Musee National du Louvre
  February 9 1807,1808 Oil on canvas ,533 x 800 cm Paris,Musee National du Louvre

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Baron Antoine-Jean Gros Napoleon at Arcola (mk09) oil on canvas


Napoleon at Arcola (mk09)
Napoleon at Arcola (mk09)
Painting ID::  21308
  November 17,1796,1796 Oil on cavnas ,73 x 59 cm Paris,Musee National du Louvre
  November 17,1796,1796 Oil on cavnas ,73 x 59 cm Paris,Musee National du Louvre

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Baron Antoine-Jean Gros Napoleon Bonaparte on the Bridge at Arcole (nn03) oil on canvas


Napoleon Bonaparte on the Bridge at Arcole (nn03)
Napoleon Bonaparte on the Bridge at Arcole (nn03)
Painting ID::  23310
  1796/7 Oil on canvas 134 x 104 cm 52 3/4 x 41 in Hermitage Museum St Petersburg
  1796/7 Oil on canvas 134 x 104 cm 52 3/4 x 41 in Hermitage Museum St Petersburg

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Baron Antoine-Jean Gros Napoleon Visiting the Plague Vicims at jaffa,March 11.1799 oil on canvas


Napoleon Visiting the Plague Vicims at jaffa,March 11.1799
Napoleon Visiting the Plague Vicims at jaffa,March 11.1799
Painting ID::  30666
  mk68 Oil on canvas Paris,Louvre 1804 France
  mk68 Oil on canvas Paris,Louvre 1804 France

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     Baron Antoine-Jean Gros
     1771-1835 French Baron Antoine-Jean Gros Galleries The son of a painter, Antoine Jean Gros was born in Paris on March 16, 1771. At the age of 14 he entered the studio of Jacques Louis David, the acknowledged leader of the classical revival. Although his own work became radically different from David's, he maintained a lifelong respect for his teacher and envisioned himself as the upholder of the Davidian tradition. In 1787 Gros entered the Acad??mie de Peinture, and when the Acad??mie dissolved in 1793 (a result of the French Revolution) he went to Italy. He met Josephine Bonaparte in Genoa in 1796, and she introduced him to Napoleonic society. Gros entered Napoleon's immediate entourage and accompanied him on several north Italian campaigns. Gros also became involved with Napoleon's program of confiscating Italian art for removal to France. Gros returned to Paris in 1800 and began to show his Napoleonic paintings in the annual Salons. The most famous of these are the Pesthouse at Jaffa (1804) and Napoleon at Eylau (1808). These works served to deify Napoleon, showing him engaged in acts of heroism and mercy. Stylistically, the paintings were revolutionary:their exotic settings, rich color, agitated space, and general penchant for showing the gruesome specifics of war and suffering differed radically from the cool generalizations of Davidian classicism that Gros had learned as a student. The presentation of contemporary historical events was also new, a harbinger of the realism that developed steadily during the first half of the 19th century in French, American, and English painting. Finally, the emphatic emotionalism of Gros's art established the foundation of romantic painting that Th??odore G??ricault and Eug??ne Delacroix developed after him. Unlike that of some of his countrymen (David is a case in point), Gros's position did not suffer after the fall of Napoleon. Gros painted for the restored monarchy, for instance, Louis XVIII Leaving the Tuileries (1817), and he decorated the dome of the Panth??on in Paris with scenes of French history (1814-1824). For this Charles X made him a baron in 1824. But these works lack the zest and commitment of Gros's Napoleonic period, perhaps because they were not based on the immediate kinds of historical experiences that had inspired the earlier paintings. Although marked by considerable public success, Gros's later career was in many ways acutely troubled. Basically, he could not resolve his personal esthetic theories with his own painting or with the work of his younger contemporaries. To the end Gros wished to propagate the classicism of David, and he took over David's studio when the master was exiled in 1816. By the 1820s, however, the revolutionary romanticism of G??ricault and Delacroix, among others, had clearly begun to eclipse classicism, and Gros found himself fighting a lonely and losing battle for conservatism. Ironically, he was fighting a trend that his own best work had helped to originate. As he persisted, moreover, his own painting began to show a diffident mixture of classic and romantic attitudes. Thus, while he was inherently a romantic, he tragically came to doubt himself. Gros died on June 26, 1835, apparently a suicide.

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