French Campaign, 1814 (Meissonier)
| French Campaign, 1814 | |
|---|---|
| French: Campagne de France, 1814 | |
 | |
| Artist | Ernest Meissonier |
| Year | 1860–1864 |
| Medium | Oil on wood |
| Dimensions | 51.5 cm × 76.5 cm (20.3 in × 30.1 in) |
| Location | Musée d'Orsay, Paris |
French Campaign, 1814 (French: Campagne de France, 1814, alternative title: 1814) is an oil on wood painting by French painter Ernest Meissonier, created between 1860 and 1864. French Campaign, 1814 is one of the most well-known artworks of Meissonier, and it is part of his Napoleonic cycle of paintings, with 1807, Friedland and The Morning of Castiglione (unfinished). It represents Napoleon Bonaparte leading his troops during the grim retreat of the French Campaign of 1814. [1]: 68 This painting was sold in 1890 reached a record price for a painting by a contemporary artist, and currently housed in the Musée d'Orsay, Paris. Meissonier's work reflects the somber realities of Napoleon's final military campaign, emphasizing themes of loss, resilience, and patriotism. [2]: 211
Description
[edit]French Campaign, 1814 shows Napoleon Bonaparte riding a white horse, leading his troops on a cold, snowy road. [2]: 211 The painting captures the hard and gloomy moments of Napoleon’s retreat during the French Campaign of 1814, a moment when as Allied forces advanced into France. Napoleon appears tired and thoughtful, his posture slightly slouched, and his clothing rumpled, reflecting the hardships of the campaign. [3]: 150 His long overcoat is buttoned up, and his right hand rests near his chest in his familiar pose, symbolizing determination and duty.[4]: 157 The dark, cloudy sky and the frozen, barren landscape amplify the sense of sadness and struggle.[4]: 157 Napoleon’s grim expression conveys the heavy weight of his challenges, while his horse remains calm and noble, standing firm despite the harsh conditions.[3]: 150 This contrast between the weary man and the composed, powerful animal emphasizes Napoleon's humanity and vulnerability as a leader. [2]: 157
Meissonier always focused on small, precise details to bring the scene to life. He captures not just the harsh environment but also the emotional reality of the campaign. The themes of loss, endurance, and the toll of war make this painting one of Meissonier’s most impactful works.
Historical background
[edit]The French Campaign of 1814 marked a critical and tragic phase in Napoleon Bonaparte’s military career. After their victory at Leipzig in 1813, the Allied forces of the Sixth Coalition invaded France, vastly more than Napoleon’s depleted army. Despite limited resources and war-weary troops, Napoleon demonstrated his strategic brilliance, achieving several victories at battles like Champaubert and Montmirail. However, these successes could not halt the Allies’ steady advance toward Paris. The campaign was devastating for France, with its countryside ravaged and its people demoralized. By March 1814, Paris fell, forcing Napoleon to abdicate. [4]: 152–158
This campaign marked the beginning of the end for the Napoleonic Empire. Although Napoleon briefly returned to power during the Hundred Days in 1815, culminating in his defeat at Waterloo, the events of 1814 served as a poignant reminder of the limits of his once-unrivaled dominance. French Campaign, 1814 immortalizes this moment, balancing the glory and tragedy of Napoleon’s final years as a leader. [2]: 210–211
Artistic process
[edit]Ernest Meissonier was renowned for his meticulous attention to detail and commitment to authenticity in his artworks. In creating French Campaign, 1814, he employed an exhaustive artistic process to accurately depict Napoleon Bonaparte and the harsh realities of the 1814 campaign.
To achieve a realistic portrayal of Napoleon, Meissonier went to great lengths. He borrowed Napoleon’s actual saddle from Prince Napoléon to ensure that every detail of the equipment was historically accurate. Furthermore, Meissonier had a replica of Napoleon’s overcoat made, which he wore himself while modeling for the painting. [3]: 151 By donning the coat, he could better understand how it draped and moved, capturing its appearance under various conditions. This immersive approach allowed him to convey the weight and texture of the clothing realistically, adding depth to Napoleon's weary depiction. [2]: 212
Meissonier's dedication extended to the depiction of the horse as well. His own horse, Bachelier, served as the model for Napoleon's horse in the painting. [3]: 151 He spent countless hours observing and sketching Bachelier, striving to capture the anatomy and movement of the horse accurately. Meissonier was particularly interested in portraying the correct gait and posture. According to art critic Duhousset, Meissonier was among the first to illustrate the appui diagonale gait, where diagonal pairs of a horse's legs move in unison with minimal knee flexion. This attention to equine movement was groundbreaking and added a layer of realism to his work.[2]: 211
Critical reception
[edit]The criticism of French Campaign, 1814 was largely positive, with many praising Meissonier's ability to convey historical and emotional depth. Charles Clément remarked on the accuracy of the painting, particularly its equestrian elements, noting that Meissonier captured “the character and temperament of each horse.” Théophile Gautier hailed the work for its individuality, asserting that it owed “nothing to tradition” and stood as a bold departure from conventional historical painting. The painting’s intimate scale and precise execution were widely admired for their ability to evoke a sense of closeness to the subject. Albert Wolff declared it "one of the most powerful pictorial dramas of the century," emphasizing its emotional resonance and technical mastery. John Ruskin, while critical of the landscape, commended the execution, describing it as a fine example of Meissonier’s skill in capturing the personal struggles of Napoleon during his retreat.[3]: 9
However, not all critics were as enthusiastic. Jules Castagnary dismissed Meissonier's paintings as overly meticulous, likening them to “colored photographs,” a sentiment echoed by other detractors who felt the artist's attention to minute detail came at the expense of grandeur and artistic imagination. The painting’s small size also drew criticism, especially when compared to the monumental canvases of Delacroix and other contemporaries. Some critics viewed the emotional weight of the work as overshadowed by its technical precision, leading to accusations that it lacked the sweeping drama expected of historical masterpieces. Even Ruskin, while praising the execution, described the background as “nearly unintelligible,” suggesting that the landscape lacked clarity and cohesion. This divide between admiration for Meissonier’s skill and skepticism about his artistic choices underscored the ambivalence that some felt toward his work. [3]: 10 [2]: 214
References
[edit]- ^ "Cavaliers and Cardinals : Nineteenth-Century French Anecdotal Paintings by Zafran, Eric M.: Very Good (1992) 1St Edition. | Better World Books". www.abebooks.com. Retrieved 2024-11-21.
- ^ a b c d e f g Hungerford, Constance; Meissonier, J. L. (1999-01-01). "Ernest Meissonier: Master In His Genre". Ernest Meissonier: Master In His Genre.
- ^ a b c d e f Gotlieb, Marc (1996). The plight of emulation : Ernest Meissonier and French salon painting. Internet Archive. Princeton, N.J. : Princeton University Press. ISBN 978-0-691-04374-6.
- ^ a b c Houssaye, Henry (1914). Napoleon and the Campaign of 1814. H. Rees, Limited.
