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Authors: Philip Dwyer

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45
.
Dard,
Napoléon et Talleyrand
, p. 155; Schroeder,
Transformation of European Politics
,
p. 316; Tulard,
Fouché
, pp. 219–28; Waresquiel,
Talleyrand
, p. 398.
46
.
Madelin,
Fouché
, ii. pp. 80–1; Lentz,
Nouvelle histoire du Premier Empire
, i. pp. 429–30.
47
.
In the
Moniteur universel
, the
Journal de Paris
and the
Journal de l’Empire
, 2 April 1807. On the competition see Pierre Lelièvre, ‘
Napoléon sur le champ de bataille d’Eylau
par A.-J. Gros: Précisions sur les conditions de la commande’,
Bulletin de la Société de l’histoire de l’art français
(1955), 51–5; Herbert, ‘Baron Gros’s Napoleon’, p. 61; Prendergast,
Napoleon and History Painting
, pp. 152–85.
48
.
Schlenoff, ‘Baron Gros and Napoleon’s Egyptian Campaign’, p. 154.
49
.
The following is based on: Gerstein, ‘Le regard consolateur’, pp. 321–31; John Walker McCoubrey, ‘Gros’
Battle of Eylau
and Roman Imperial Art’,
Art Bulletin
, 43 (1961), 135–52; Sara Lichtenstein, ‘The Baron Gros and Raphael’,
Art Bulletin
, 60 (1978), 126–38, here 131 and 133; Morse, ‘A Revaluation’, pp. 134–50; Jean-Paul Kauffmann,
La chambre noire de Longwood: le voyage à Sainte-Hélène
(Paris, 1997); O’Brien,
After the Revolution
, pp. 154–74.
50
.
Morse, ‘A Revaluation’, pp. 134–5.
51
.
Prendergast,
Napoleon and History Painting
, p. 132.
52
.
In Dupuy, Le Masne de Chermont and Williamson (eds),
Vivant Denon
, i. 1647.
53
.
David O’Brien, ‘Propaganda and the Republic of the Arts in Antoine-Jean Gros’s
Napoleon Visiting the Battlefield of Eylau the Morning after the Battle
’,
French Historical Studies
, 26 (2003), 281–314, here 282 and 292.
54
.
Observations sur le Salon de l’an 1808
(Paris, 1808), pp. 8 and 9.
55
.
Norman Bryson, ‘Representing the Real: Gros’ Paintings of Napoleon’,
History of the Human Sciences
, 1 (1988), 98.
56
.
Porterfield,
The Allure of Empire
, pp. 53–61.
57
.
For some of the contemporary comments see Irène Perret, ‘Réception critique de
Napoléon sur le champ de bataille d’Eylau
d’Antoine-Jean Gros sous le premier empire’,
Napoleonica. La Revue
, 4:1 (2009), 50–61.
58
.
Edgar Munhall, ‘Portraits of Napoleon’,
Yale French Studies
, 26 (1960), 8, 9.
59
.
O’Brien, ‘Propaganda and the Republic of the Arts’, 302.
60
.
Arsène Alexandre,
Histoire de la peinture militaire en France
(Paris, 1889), pp. 151–2.
61
.
Prendergast,
Napoleon and History Painting
, p. 181.
62
.
Prendergast,
Napoleon and History Painting
, p. 163.
63
.
Charles-Paul Landon,
Salon de 1810. Recueil de pièces choisies parmi les ouvrages exposés au Louvre le 5 novembre 1810
(Paris, 1810), p. 78.
64
.
Journal des arts, des sciences, et de littérature
, 18 October 1808, 397.
65
.
Lindsay, ‘Mummies and Tombs’, 489–90; Bruno Foucart, ‘Les “Salons” sous le Consulat et les diverses représentations de Bonaparte’,
Revue de l’Institut Napoléon
, 111 (1969), 118.
66
.
Gazette de France
, 30 brumaire an VIII (21 November 1804).
67
.
For example, the story of Prince Hatzfeld’s wife pleading for his life in 1806 in Louis-Guillaume de Puybusque,
Lettres sur la guerre de Russie en 1812, sur la ville de St. Petersbourg, les moeurs et les usages des habitans de la Russie et de Pologne
(Paris, 1816), pp. 18–19 (6 June 1812). See pp. 291–2 in this volume.
68
.
On the opera see David Chaillou,
Napoléon et l’Opéra: la politique sur la scène, 1810–1815
(Paris, 2004).
69
.
Yveline Cantarel-Besson, ‘Les salons de peintures’, in Yveline Cantarel-Besson, Claire Constans and Bruno Foucart (eds),
Napoleon: images et histoire
,
peintures du château de Versailles, 1789–1815
(Paris, 2001), p. 100; and the series of articles in
Les clémences de Napoléon: l’image au service du mythe
(Paris, 2004); Boime,
Art in an Age of Bonapartism
, ii. pp. 29–30.
70
.
Moniteur universel
, 7 November 1806.
71
.
Bruno Foucart, ‘Les clémences de Napoléon et leurs images: art et politique’, in
Les clémences de Napoléon
, pp. 26–7.
72
.
Corr.
xiii. n. 11191 (6 November 1806); Jean Rapp,
Mémoires du général Rapp, aide-de-camp de Napoléon
(Paris, 1823), pp. 84–9; Savary,
Mémoires
, ii. pp. 314–18; Jacques-Olivier Boudon, ‘Les clémences de Napoléon: une arme au service du pouvoir’, in
Les clémences de Napoléon
, pp. 14–15.
73
.
Huet, ‘Napoleon I: A New Augustus?’, p. 68. The plea of the wife of Prince Hatzfeld was the subject of at least three other paintings, including Louis Lafitte at the Salon of 1808; Pierre Antoine Vafflard at the same Salon; and Charles Boulanger de Boisfremont at the Salon of 1810 (Robert Rosenblum,
Transformations in Late Eighteenth Century Art
(Princeton, 1967), pp. 99–100).
74
.
Journal de Paris
, 6 November 1805. The account was reprinted in several other newspapers. Porterfield and Siegfried,
Staging Empire
, pp. 77–8.
75
.
O’Brien,
After the Revolution
, p. 130.
76
.
Porterfield,
The Allure of Empire
, p. 76; Huet, ‘Napoleon I: A New Augustus?’, p. 67.
77
.
Porterfield,
The Allure of Empire
, pp. 68–74.
78
.
See Dwyer,
Napoleon: The Path to Power
, pp. 401–7.
79
.
Gerstein, ‘Le regard consolateur du grand homme’, pp. 321–31.
80
.
Cabanis,
La Presse
, pp. 278–81.
81
.
On Napoleon’s intervention in Spain see Chandler,
Campaigns of Napoleon
, pp. 625–58; Gates,
The Spanish Ulcer
, pp. 94–105.
82
.
Esdaile,
Peninsular Eyewitnesses
, pp. 50–61.
83
.
Lecestre (ed.),
Lettres inédites
, i. p. 163 (11 March 1808); and pp. 268–9 (12 January 1809).
84
.
Alphonse-Henri, marquis d’Hautpoul,
Mémoires du général marquis Alphonse d’Hautpoul
(Paris, 1906), pp. 63–4; Marbot,
Mémoires
, ii. p. 69.

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