The Open University since 2006
Alternatively you can skip the navigation by pressing 'Enter'.
Scotland and The Battle for Britain: Episode 1Wednesday, 28th September 2016 01:35 - BBC Two (except Scotland)Andrew Marr discovers why the Scotland he was born in has changed so much politically. Read more: Scotland and The Battle for Britain: Episode 1
Scotland and The Battle for Britain: Episode 1Available until Friday, 28th October 2016 03:05Andrew Marr discovers why the Scotland he was born in has changed so much politically. Read more: Scotland and The Battle for Britain: Episode 1
Life Story: ParenthoodAvailable until Sunday, 30th October 2016 01:00
Life Story: CourtshipAvailable until Sunday, 23rd October 2016 01:25
BBC Inside Science - 2016/2017 series: What's left to explore?Available for over a year
Take the photographic memory testCan you capture scenes just by looking at them? Find out with our photographic memory test. Launch now: Take the photographic memory test
The lottery of birthThis free course, The lottery of birth, will look at both the big picture of the ‘lottery of... Try: The lottery of birth now
Organisations and management accountingThis free course, Organisations and management accounting, examines the nature of organisations,... Try: Organisations and management accounting now
In this free course, Napoleonic paintings, we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions, such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis; to examine the relationship between art and politics; and to introduce you to some of the complex issues involved in interpreting works of art.
After studying this course, you should be able to:
- analyse paintings centred on the human figure in terms of how a work's form and content together produce its meaning
- explain how and why French painting came to be used and controlled by the Napoleonic regime
- discuss the problems of interpretation raised by Gros's Napoleonic paintings
- locate Napoleonic painting within the broad shift from Neoclassicism to Romanticism in French art.
- Current section: Introduction
- Learning outcomes
- 1 Paintings at the Louvre
- 2 The portrait of Napoleon
- 3 Gros and the Napoleonic propaganda machine
- 4 The Decennial Competition of 1810
- 5 Conclusion
- Keep on learning
Study this free course
Enrol to access the full course, get recognition for the skills you learn, track your progress and on completion gain a statement of participation to demonstrate your learning to others. Make your learning visible!
If you visit the Louvre museum in Paris and choose the route leading to the Denon wing, you will find on the first floor two vast galleries, the Daru room and the Mollien room, devoted to late eighteenth- and early nineteenth-century French painting. Although they also contain many comparatively small works, notably portraits, these galleries are dominated by colossal pictures depicting historical and mythological subjects. Many of the images that we will be discussing in this course belong to this genre. At the time, ‘history painting’ (as it is generally known) constituted by far the most prestigious genre of painting for two principal reasons. First, it was considered to be far more demanding than the so-called lower genres (portraiture, landscape, still life, etc.): not only did the history painter have to work out a large-scale composition involving the human figure, but he was also expected to represent nature in its ideal forms rather than merely copying the familiar appearance of things, like artists who practised the lower genres. (The masculine pronoun is deliberate. It was extremely difficult for women to become history painters. Female students were not admitted to the Royal Academy of Painting and Sculpture. The core of its tuition was the life class, which involved drawing from the naked (male) model, so women were excluded on grounds of modesty.)
Second, the subject matter of history paintings was considered to be much more significant than that of the lower genres, on account both of the exalted status of the gods and heroes who were depicted in them and of the elevating moral messages that they offered to the viewer. At least, this was the theory; the practice was often rather different, as we will see from considering examples produced during the Napoleonic era. This was increasingly to be the case as the nineteenth century progressed.
This OpenLearn course provides a sample of Level 2 study in.
This free course includes adapted extracts from an Open University course which is no longer available to new students. If you found this interesting you could explore more free History of Art courses or view the range of currently available OU History of Art courses.
Copyright & revisions
Originally published: Thursday, 14th April 2016
Last updated on: Thursday, 14th April 2016
- Creative-Commons: The Open University is proud to release this free course under a Creative Commons licence. However, any third-party materials featured within it are used with permission and are not ours to give away. These materials are not subject to the Creative Commons licence. See terms and conditions. Full details can be found in the Acknowledgements and our FAQs section.
- This site has Copy Reuse Tracking enabled - see our FAQs for more information.
If you enjoyed this, why not follow a feed to find out when we have new things like it? Choose an RSS feed from the list below. (Don't know what to do with RSS feeds?)
Remember, you can also make your own, personal feed by combining tags from around OpenLearn.
All our alternative formats are free for you to download, for more information about the different formats we offer please see our FAQs. The most frequently used are Word (for accessibility), PDF (for print) and ePub and Kindle to download to eReaders*.
- Word (1.3 MB)
- PDF (2 MB)
- ePub 3.0 (33.9 MB)
- ePub 2.0 (923 KB)
- Kindle (630 KB)
- RSS (404 KB)
- HTML (19.6 MB)
- SCORM (19.6 MB)
- OUXML Package (57 KB)
- OUXML File (174 KB)
- IMS Common cartridge
- Moodle backup (25.6 MB)
*Please note you will need an ePub and Mobi reader for these formats.