Antoine-Jean Gros  
Antoine-Jean Gros

Antoine-Jean Gros, by L. Massard after François Gérard
Antoine-Jean, Baron Gros, (born March 16, 1771, Paris, France—died June 26, 1835, Paris), French Romantic painter principally remembered for his historical pictures depicting significant events in the military career of Napoleon.

Gros received his first art training from his father, who was a painter of miniatures. In 1785 he entered the studio of his father’s friend Jacques-Louis David, whom he revered but whose cerebral Neoclassical style was uncongenial to Gros’s romantically passionate nature. As a student he was more influenced by the energetic brushwork and colour of Peter Paul Rubens and the Venetians than the hard linearism of his contemporary Neoclassicists.

In 1793, with David’s help, Gros went to Italy, where, in Genoa, he met Joséphine de Beauharnais and, through her, his hero, Napoleon. In 1796 he followed the French army to Arcole and was present when Napoleon planted the French flag on the bridge. This incident he immortalized in his first major work, Napoleon on the Bridge at Arcole (1796). Napoleon bestowed on him the rank of inspecteur aux revues. He accompanied Napoleon on his campaigns and also helped select works of art from Italy for the Louvre.

Of all the artists who contributed to the Napoleonic myth, Gros had the most profound effect on the rising generation of Romantic painters. The elegance, richness, and dramatic power of such historical paintings as Napoleon Visiting the Pesthouse at Jaffa (1804) and Napoleon on the Battlefield at Eylau, February 1807 (1808) influenced Théodore Géricault and Eugène Delacroix.

After the fall of Napoleon and the restoration of the Bourbons (who gave Gros the title of baron), David was forced into exile and Gros became the head of his studio. As the heir of Neoclassicism, Gros tried to work in a style closer to that of David. He continued to paint large compositions—e.g., the ceiling of the Egyptian room of the Louvre (c. 1824)—but these academically Neoclassical pictures lacked the Romantic vitality of his earlier historical paintings. His best works after 1815 were portraits, some of which approached the quality of his Napoleonic pictures—e.g., Young Girl in a Necklace (exhibited 1913). He was, however, continually plagued by David’s criticism of his work and became increasingly dissatisfied with his own accomplishments. A sense of failure exacerbated his already melancholic nature, and he committed suicide.

Encyclopædia Britannica


Madame Pasteur
Oil on canvas, 86 x 67 cm
Musйe du Louvre, Paris

Bonaparte on the Bridge at Arcole
c. 1796
Oil on canvas, 134 x 104 cm
The Hermitage, St. Petersburg

Napoleon Bonaparte Visiting the Plague-stricken at Jaffa
Oil on canvas, 523 x 715 cm
Musйe du Louvre, Paris

Christine Boyer
c. 1800
Oil on canvas, 214 x 134 cm
Musйe du Louvre, Paris

Sappho at Leucate
Oil on canvas, 122 x 100 cm
Musйe Baron Gйrard, Bayeux

The Battle of Abukir
Oil on canvas, 578 x 968 cm
Musйe National du Château, Versailles

Napoleon Bonaparte on the Battlefield of Eylau, 1807
Oil on canvas, 521 x 784 cm
Musйe du Louvre, Paris

Portrait of Madame Rйcamier
Oil on canvas
Galeria, Zagreb

Portrait of the Second Lieutenant Charles Legrand
c. 1810
Oil on canvas, 249 x 162 cm
Los Angeles County Museum of Art, Los Angeles


Etienne Méhul 1799

Impératrice Joséphine

Equestrian Portrait of Jerome Bonaparte

Boris Yusupov

Hercule et Diomède

Portrait de Madame Fravega

Jacques-Louis David

Portrait de Paulin de Hours