April 2025 - Art of the Ages: France

Written by Director Mary W.

French art is truly one of a kind, from its roots in Gothic art with striking paintings such as “Coronation of the Virgin” by painter Enguerrand Quarton to the many masterpieces made in the 19th century Impressionist movement. From 25-foot wide oil paintings to grandiose marble sculptures, there is much to see in the many Parisian art museums that enjoy a surplus of awed tourists. Most museum-goers swarm to get a picture with Leonardo da Vinci’s iconic “Mona Lisa” as the classic cornerstone of French art, however, there is more than meets the eye in these esteemed halls of history and culture. In this first Art of the Ages, we will be exploring different French artwork from unique times and perspectives to inspire our modern artists in the making. And of course, personal pictures from a recent summer trip to Europe will be provided to lend a unique perspective to the paintings that transcend simple footnotes on a webpage.

#1 -  The Coronation of Napoleon (1807, Jacques-Louis David)

“The Coronation of Napoleon” was commissioned by none other than Napoleon Bonaparte himself, shortly after his coronation as the Emperor of France. David was the official court painter of the crown, so he was tasked with creating a large ceremonial piece to commemorate the event. He was acclaimed for his neoclassical style, which emphasized fine detail and a sense of grandeur. The painting was so large, 10 x 20 feet, it took him around two years to complete from his start in 1805. 

In the focus of the scene, the emperor is seen placing a bejeweled crown on his wife, Empress Josephine. A grand assembly of influential figures fill the space, with prominent nobles and military leaders watching the momentous occasion. The color palette is rich, dominated by deep reds, golds, and whites from the luxurious coronation robes worn by most of the attendees. There is a strong sense of royal power emanating from this piece from the opulent decoration and flashy gowns. Notably, Napoleon stands in the center as the Pope watches in the background, demonstrating his absolute power and control as the new ruler.

And of course, even French painters couldn’t separate art from politics. As depicted in the painting, Napoleon’s mother Letizia Bonaparte, smiles at her son from her regal seat in a raised platform embellished with flowing blue and gold curtains. David included her in the composition to enhance the visual and emotional significance of this moment. By doing so, he strengthened the idea that Napoleon’s rise to power was supported by his family. However, Letizia was not actually at the coronation, due to tensions between the two. However, Napoleon wanted to convey the illusion of a unified crown, and had David include her in the painting. 

Seeing this painting in real life is truly nothing other than breathtaking. The vibrant colors and realistic texture of the piece truly makes you feel part of the moment. I spent much time not only observing Napoleon and Josephine, the stars of the show, but also the faces of the background nobles. I wondered what they must have been feeling at the coronation, with Napoleon's insurmountable rise to power. Their expressions are difficult to read, with most having a faint smile or inexpressive stare on their faces. The horizontal composition filled with well-rendered people and clothes of this piece greatly added to its glorious magnificence. There is so much detail and beauty captured in this piece, you can find something new every time you look.

The Coronation of Napoleon

#2 - Les Quatre Parties du Monde Soutenant la Sphère (1867, Jean-Baptiste Carpeaux)

“Les Quatre Parties du Monde Soutenant la Sphère” is a statuesque fountain sculpture that was commissioned by Baron Haussmann for the Observatoire Garden in Paris. Haussmann, tasked with the urban renovation of Paris, wanted to display a work that would represent both the grandeur of France and its artistic advancements to the world. Carpeaux was known for his expressive variety in contrast to most of the more refined sculptors of the time. His rough but fluid texture with the earth-colored marble bring an unique sense of liveliness.

The sculpture itself stands as a monumental achievement, with the globe held aloft by four figures representing four continents of the earth: Europe, Asia, Africa, and America. The figures are arranged around the sphere, each symbolizing the distinctive attributes of their respective regions. Europe is seen donning sinuous drapery around her shoulder while Asia wears her hair luxuriously braided. America wears an indigenous feather headdress but Africa has her hair rough and flowing freely. Unlike most of the other sculptures in Musée d'Orsay, viewers can distinguish the racial features of the four continents, a testament to Carpeaux’s skill. 

The most striking symbolism within the sculpture is in the portrayal of America and Africa’s relationship, where America is seen stepping on a chain tightened around Africa’s heel, a clear reference to the weight of slavery. Carpeaux later reproduced Africa in an individual bust with the writing “Why be born a slave?” inscribed along the base. This imagery was deeply meaningful, especially in the context of France’s colonial initiatives at the time. In opposition to the general sentiment, Carpeaux seemed to take issue with the cruelty of colonialism and slavery present in France and other imperial nations.

Seeing "Les Quatre Parties du Monde Soutenant la Sphère" in person is truly awe-inspiring. The fluidity of their poses and the grandeur of the complex globe they support give the sculpture a sense of movement, as the continents are actively lifting up the world. I wondered what provoked Carpeaux to tackle such a profound message, especially with the deep symbolism of Africa in chains. I was also inspired by his choice to depict women from each continent with diverse features, which showed his creativity and skill with capturing a person’s likeness.

Les Quatre Parties du Monde Soutenant la Sphère

#3 - Crepúsculo (1890, Ulpiano Checa Sanz)

Created by the Italian artist Ulpiano in the late 20th century, “Crepúsculo” (twilight in Spanish) captures the fleeting beauty of this transitory phase. Ulpiano, known for his explorations of striking color palettes, was inspired by the unique setting between day and night. The painting, although decorated with a humble frame and backdrop, was one of my favorites even among the other more famous and acclaimed pieces in the Musée d'Orsay.

In the center, a joyful girl with rainbow-colored hair merging into the background, gleefully rides a pale white horse alongside a mysterious companion dressed in gray. The blending of light and dark symbolizes the merging of opposing elements and emotions. Divine figures arise from the billowing clouds in the background rising atop their own white horses. The texture is rough and expressive in this piece, with a focus on movement instead of detail. 

The mysticalness of this piece, with the girl’s rainbow hair blending into the clouds and angelic figures emerging from the soft clouds, truly capture the ephemeral experience of twilight. The girl, though portrayed with delicate beauty, conveys a sense of urgency, as she is whisked away by the night at her side. Her relaxed and joyful face wears an euphoric laugh that drew me deeper into the painting.

Seeing Crepúsculo was an unexpected delight. It was showcased on the side of a rather empty hallway, yet it immediately captured my attention. The rich hues and fluid textures of the painting seemed to come alive, especially when viewed up close. The blending of light and color throughout the piece is mesmerizing, with the warm glow of the sunset beautifully reflecting upon the horse’s galloping hooves and lefts. The rolling clouds and steadfast horses captivated me, but I was most impressed by the graceful transition of her free-flowing hair colored by the light.

Crepúsculo