The Napoleonic Phenomenon

The Napoleonic Phenomenon

1. What is a history painting and why is it considered a higher category than other subject categories, like portraiture, genre and landscape?
2. How did French painting come to be used and controlled by the Napoleonic regime?
3. Locate Napoleonic painting within the broad shift from Neoclassicism to Romanticism.
4. What were some of the problems of interpretation raised by Gros’s Napoleonic paintings?
5. What was the fundamental problem driving Napoleonic propaganda?
6. According to Diderot’s Encyclopédie, what is the difference between a great man and a hero? How and why did these concepts affect Napoleonic portraiture?
7. What was the problematic hybrid nature of Napoleon’s portraits as First Consul?
8. Why was reception of Ingres’ portrait of Napoleon on the Imperial Throne so hostile?
9. Why were large-scale history paintings more effective as propaganda than portraiture for the Napoleonic regime?
10. How were history paintings, such as Gros’ Jaffa and Eylau, 1) typical of Napoleonic propagandistic strategy and 2) characteristic of French national agendas?
11. How are the contradictory goals of Napoleon’s Egyptian campaign, indeed of his rule as a whole, seen in Gros’ Jaffa?
12. What is the advantage of history painting as a form of propaganda?

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