Antoine jean gros biography of christopher
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Napoleon and History Painting: Antoine-Jean Gros's La Bataille D'Eylau
Christopher Prendergast's study is an inquiry into the fortunes, in both theory and practice, of the idea of history painting during the Napoleonic period. His main argument is that under Napoleon, French history painting, especially battle painting, encountered a series of questions as to its nature and function. These questions arose in part from the (often contradictory) demands of a propaanda - machine operating within a post-revolutionary crisis of political legitimation, but also from changes in artistic taste which both retained and re-directed an earlier notion of the civic responsibilities of the history painter. This is a resolutely interdisciplinary book: drawing on perspectives from political thought and history, military theory and practice, and art history, it centres on the work of the painter, Antoine-Jean Gros, and his controversial painting, La Bataille d'Eylau.
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Napoleon and Earth Painting: Antoine-Jean Gross Course of action Bataille d&#;Eylau
Author(s) : PRENDERGAST Christopher
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Antoine-Jean Gros
French painter (–)
For the 19th-century French diplomat known as Baron Gros, see Jean-Baptiste Louis Gros.
Antoine-Jean Gros (French pronunciation:[ɑ̃twanʒɑ̃gʁo]; 16 March &#;&#; 25 June ) was a French painter of historical subjects. He was granted the title of Baron Gros in [1][2]
Gros studied under Jacques-Louis David in Paris and began an independent artistic career during the French Revolution. Forced to leave France, Gros moved to Genoa. His portrait of French commander Napoleon Bonaparte at the Battle of Arcole in brought Gros to public attention and gained the patronage of Napoleon.[3][4] After traveling with Napoleon's army for several years, he returned to Paris in In addition to producing several large paintings of battles and other events in Napoleon's life, Gros was a successful portraitist.
Early life and training
[edit]Born in Paris, Gros began learning to draw at the age of six from his father, Jean-Antoine Gros,[5] who was a miniature painter, and showed himself to be a gifted artist. His mother, Pierrette-Madeleine-Cécile Durand, was also a painter.[6] Towards the close of , Gros, by his own choice, entered the studio of Jacques-Louis David, which he freq