Napolean
David: The Image Enthroned
by Patric
Jean, Director; Frédéric
Cerdal, Narration
First Run / Icarus Films, Brooklyn, NY,
2005
Video/DVD, 51 mins., color
Sales, Video/DVD: $390; Rental, Video:
$100
Distributors website: http://www.frif.com/.
Reviewed by Amy Ione
The Diatrope Institute
State College, PA 16803
ione@diatrope.com
After examining how Jacques Louis
David, a French neoclassical painter,
created political myths in his painting,
Napoleons Coronation, Patric
Jeans film Napoleon David: The
Image Enthroned concludes: "As
much as by the strength of arms; it is
by the strength of images that power is
established." This aptly sums up
the film. Overall, the film relates Napoleons
story, introducing this man of minor nobility
who became a national hero and gained
recognition during the French Revolution.
We also learn of the relationship of Napoleon
with the activist painter Jacques-Louis
David, who created many images glorifying
Napoleons person and his rule.
Davids history had well prepared
him for this role. In the early years
of the Revolution, he was a member of
the extremist Jacobin group led by Robespierre.
Elected to the National Convention in
1792, the artist was imprisoned twice
for having voted for the death of the
King. After the amnesty of 1795, his art
moved from the historical narratives of
his early work (e.g., his well known Oath
of the Horatii, 1784) to current events
that mirrored his political inclinations.
Thus, aside from teaching figures that
ranged from Baron François Gérard
to Jean-Auguste-Dominique Ingres, David
critically influenced mainstream cultural
dynamics. Besotted with Napoleon, David
first became this leaders official
painter in 1799 during the Consulate period,
a function that continued from 1804-15,
under the Empire. The huge Coronation
discussed throughout the film, and conceived
in 180507, combines portraiture,
symbolism, and history. Among his most
famous works, this glorification of Napoleons
role in the French transformation of the
late eighteenth and early nineteenth-centuries
highlights Davids technical skills
and conveys his gift for elevating political
narrative to an art form.
Contemporary artists who aspire to insert
their opinions into the arena would do
well to study how deftly David paired
art with social commentary. As this production
clearly shows, his biases have immense
visual potency due to the attention he
gave to the compositional elements that
hold his works together. In the case of
the Coronation, the symmetry of Davids
earlier compositions gave way to more
dynamic arrangements. This is evident,
for example, in how the perspective converges
near the generals, which makes the painting
feel quite expansive. This spaciousness
is reinforced by Davids decision
to paint the backs of officials in the
foreground. The sum total captures our
interest at once and enlarges our sense
of the canvas as it does so.
Scripted in three acts and effectively
edited, the film also does a fine job
of placing the two main characters within
the larger context, walking us through
Davids early themes derived from
ancient mythology and adding succinct
commentary on the French Revolution and
Napoleonic period. This includes a close
examination of Davids tendency to
romanticize his heros in producing
paintings that are not historically accurate.
For example, Napoleon Crossing the
Alps depicts a vigorous commander
astride a rearing steed, although he made
the journey on a mule. Similarly, David
altered reality in the Coronation.
We learn he painted in Napoleons
mother (who did not attend the event)
and revised his representation of Pope
Pius VII after being urged to do so by
Napoleon. The artist had originally planed
to depict the Pope, who attended reluctantly,
sitting at the altar with his hands resting
on his lap. Napoleon, upon seeing the
sketches, objected. In the final painting,
Pius is positioned lower than Napoleon
on the canvas, which makes the pope appear
smaller. In addition, Pius is lifting
his hand in a gesture of blessing. Thus,
although Napoleon commissioned David to
record the Coronation, the "record"
is a mythical rather than a factual account.
Also impressive is the scripts integration
of art practice. Preparatory studies David
made in situ at the 1804 ceremony add
immeasurably to our understanding of how
the event was translated onto the canvas.
Facsimiles of models he created in his
studio while preparing the final work
further highlight his artistic practice
and enhance the in-depth and scholarly
treatment of the subject overall. Indeed,
everything about the film is as meticulous
as the Coronation painting. For example,
early in the film, as a visitor walks
toward it in the Louvre, the viewer easily
grasps its size. When the film concludes
it is clear that its size is equal to
its influence. Particularly impressive
are the wide-ranging etchings and prints
(e.g., British cartoonists and work by
other French artists) as well as scenes
from Lumières 1897 Entrevue
de Napoléon et du Pape, the
first film on Napoleon, the movies
scope is extraordinary. When the prints
and paintings by many other artists from
this time are shown to fill out the narrative,
their precision quickly catches the eye.
The black and white representations, conceived
before the camera allowed for quick and
easy reproduction of events as they happened,
are of so high a quality that I initially
(and somewhat naively) assumed I was looking
at photographs. Slowly it dawned on me
that these were finely detailed etchings;
photography had not yet been invented
when much of this work was done! With
this realization, the late eighteenth
and early nineteenth-century graphic sequences
brought to mind how important handmade
images were in retaining a cultures
history when memory, verbal descriptions,
drawing, sketching, and painting were
the only tools available to relate events.
After Napoleon fell from power David moved
to Belgium. The Coronation painting was
rolled up and kept out-of-sight for many
years. Now that it is again on view, we
can see the myth it created and recognize
that like many myths it has retained its
power, despite being of another era. As
a result, this masterpiece offers an example
removed from our visual culture that we
could use to reflect on the visual propaganda
within our own time. We can see it for
what it is, see its manipulative intentions,
and appreciate both from a perspective
detached from the events represented.
Although it does not answer why the most
potent images have the capacity to reveal
aspects of reality and deceive us in the
process of doing so, Napoleon David:
The Image Enthroned is nonetheless
a thought-provoking and visually enticing
film. In defining the problematic images
present, it keeps the questions open rather
than offering a cliqued response. Moreover,
although visual communication is the main
thrust of the film, the films focus
on a period just prior to the invention
of photography in 1839 provides an opportunity
to think about the misinformation sometimes
embedded within our imagery. Although
photographs can lie to us despite looking
so true to reality, this film reminds
us that before the camera made it possible
to mechanically document major events
all we had were the images created by
our image-makers. Finally, the craftsmanship
is superb. It is a worthy partner to Davids
Napoleons Coronation. I highly
recommend it.