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the general, there is an absence of a center in the painting, and a certain disorder in this battle. In the center, a French soldier and
Ottoman tear off a standard, while their downed horses had not yet had time to get up. The left side of the canvas is occupied by a small group of lone soldiers, surrounded by corpses and heroically defending themselves against a swarm of enemy horsemen. All these groups are linked by the skilful arrangement of the main lines of the composition, and by the harmony of a sustained color. The exactness of the strategic layouts and the topography, the realism of the portraits, the costumes, and the oriental light, which bathes the whole canvas, obscured in some places by clouds of powder, make this painting one of the most accomplished of Gros. The painter depicts in this canvas the violence of the battle, noticed in the gruesome details, in opposition to the
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135:, at April 8, 1799, a jury attributed the realization of a commemorative work of the event to Antoine-Jean Gros. A sketch for the final work was presented at the Salon of 1801. The painting was going to have large dimensions. Gros was going to be execute it, after making the original sketch, when the First Consul
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is a battle scene that tries to capture the movement and the ardor of the action taking place. The heat of the battle is depicted in yellow colors. There are effects of realism, like the soldiers who look outside the canvas, in opposition to neoclassicism. The soldiers are seen on the same scale as
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ordered that his size was to be considerably reduced, since the final work was meant to have 8 m in length. It is believed that
Napoleon didn't want too much publicity for the hero of the fight, for political reasons, since Junot was overtly republican. On the unused canvas, Gros would paint one of
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The painting depicts Junot, at the left and in profile, riding his white horse, in the moment when he kills a Mamluk with a pistol shot to his head, and, with his sword, he wounds another
Ottoman soldier, while the son of the former Pasha of Acre is at his feet. Two brigade leaders, honoured by
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is seen riding a Norman bay horse, and the future
General Duvivier rides a black horse, charging at the head of his dragoons at the top right of the canvas. Soldiers receive with bayonets the fiery charge of an Ottoman horseman, who rushes at them at a gallop, his arms crossed, with a sort an
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391:, Association des publications de la faculté des lettres et sciences humaines de Clermont-Ferrand, 1985, p. 540 (French)
352:, Association des publications de la faculté des lettres et sciences humaines de Clermont-Ferrand, 1985, p. 540 (French)
287:, Association des publications de la faculté des lettres et sciences humaines de Clermont-Ferrand, 1985, p. 540 (French)
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This article is about the painting The Battle of
Nazareth by Antoine-Jean Gros. For other uses, see
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La
Bataille l'armée et la gloire 1745-1871 - Actes du colloque international de Clermont-Ferrand
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La
Bataille l'armée et la gloire 1745-1871 - Actes du colloque international de Clermont-Ferrand
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La
Bataille l'armée et la gloire 1745-1871 - Actes du colloque international de Clermont-Ferrand
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La
Bataille l'armée et la gloire 1745-1871 - Actes du colloque international de Clermont-Ferrand
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365:, Paris, Administration du grand dictionnaire universel, 1863-1890, volume 11, p. 884 (French)
339:, Paris, Administration du grand dictionnaire universel, 1863-1890, volume 11, p. 884 (French)
300:, Paris, Administration du grand dictionnaire universel, 1863-1890, volume 11, p. 884 (French)
274:, Paris, Administration du grand dictionnaire universel, 1863-1890, volume 11, p. 884 (French)
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In 1800, the year after the victory of French troops over the
Ottomans near the village of
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Bonaparte after the battle are also shown. In front of Junot, brigade leader
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135 cm Ă— 196 cm (53 in Ă— 77 in)
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Although only a sketch, the work aroused the admiration of artists like
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Antoinette Ehrard, "Du héros triomphant au soldat inconnu", dans
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Antoinette Ehrard, "Du héros triomphant au soldat inconnu", dans
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Antoinette Ehrard, "Du héros triomphant au soldat inconnu", dans
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Antoinette Ehrard, "Du héros triomphant au soldat inconnu", dans
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apparent fatalistic resignation. In the background, are depicted
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Equestrian Portrait of Joachim Murat, King of Naples
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99:is an oil on canvas painting by French painter
476:Bonaparte Visiting the Plague Victims of Jaffa
143:Bonaparte Visiting the Plague Victims of Jaffa
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376:Grand dictionnaire universel du xixe siècle
374:"Nazareth, Combat de", in Pierre Larousse,
363:Grand dictionnaire universel du xixe siècle
361:"Nazareth, Combat de", in Pierre Larousse,
337:Grand dictionnaire universel du xixe siècle
335:"Nazareth, Combat de", in Pierre Larousse,
298:Grand dictionnaire universel du xixe siècle
296:"Nazareth, Combat de", in Pierre Larousse,
272:Grand dictionnaire universel du xixe siècle
270:"Nazareth, Combat de", in Pierre Larousse,
233:Grand dictionnaire universel du xixe siècle
231:"Nazareth, Combat de", in Pierre Larousse,
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215:in 1854, where it has been since then.
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324:Antoine-Jean Gros peintre de Napoléon
311:Antoine-Jean Gros peintre de Napoléon
259:Antoine-Jean Gros peintre de Napoléon
492:Napoléon on the Battlefield of Eylau
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532:Pierrette-Madeleine-CĂ©cile Durand
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313:, Paris, Gallimard, 2006 (French)
261:, Paris, Gallimard, 2006 (French)
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96:The Battle of Nazareth
83:Musée d'Arts de Nantes
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484:The Battle of Aboukir
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595:History of Nazareth
538:Jacques-Louis David
193:Jacques-Louis David
171:and the village of
205:Théodore Géricault
140:his master works,
137:Napoleon Bonaparte
21:Battle of Nazareth
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150:Description
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219:References
199:Provenance
71:Dimensions
436:Paintings
133:Palestine
540:(master)
534:(mother)
528:(father)
179:Analysis
129:Nazareth
113:Napoleon
79:Location
519:Related
123:History
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87:Nantes
61:Medium
43:Artist
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131:, in
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53:Year
111:of
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162:fr
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