David, Jacques Louis – The Coronation of the Napoleon and Joséphine in Notre-Dame Cathedral on December 2, 1804 Part 1 Louvre

This is a grand oil painting depicting the coronation of Napoleon Bonaparte and Empress Joséphine in Notre-Dame Cathedral on December 2, 1804. The scene is set indoors, on a raised green platform within the opulent cathedral, surrounded by a large assembly of dignitaries, clergy, and members of the court.

At the center, Napoleon, dressed in imperial robes, stands with a crown held aloft in his right hand, poised to place it on his own head or that of his wife. He is depicted with a determined expression. To his left, Joséphine kneels before him, her gaze lowered, receiving the crown or perhaps a blessing. She is adorned in a magnificent red and gold embroidered gown, a long, regal train draped behind her, and wears a diamond tiara.

Surrounding the central figures is a crowd of people in elaborate attire. High-ranking clergy, including bishops and cardinals in their distinct vestments and miters, are visible, some holding ceremonial staffs. Other figures in military uniforms and formal court dress fill the background, some with plumed hats. Several statuesque female figures, possibly allegorical representations or members of Napoleons family, are also observed seated in the upper background. The lighting is dramatic, highlighting the main figures and creating a sense of solemnity and importance.

Subtexts:

• Legitimacy and Power: The painting is a powerful piece of propaganda. By commissioning this artwork, Napoleon sought to legitimize his newly established imperial rule, which was not based on traditional hereditary monarchy. The depiction of the coronation, especially Napoleon taking the crown himself, signifies his claim to power derived from his own achievements and the will of the people, rather than divine right bestowed by the Pope (who is notably not placing the crown in this depiction, a departure from traditional coronations).

• Divine and Secular Authority: The presence of high-ranking clergy underscores the involvement of the Church, even as Napoleon asserts his own authority. This visual negotiation between religious and secular power was crucial for Napoleons image.

• Glory and Grandeur: The opulent costumes, the grandeur of the setting, and the sheer scale of the event portrayed are all intended to convey the magnificence and success of Napoleons reign and the French Empire. The painting communicates power, stability, and a new era of French glory.

• The Role of the Empress: Joséphines kneeling posture, while regal, can be interpreted as her receiving her position and, to some extent, her authority from Napoleon, reinforcing his role as the ultimate source of power within the imperial structure.

• Historical Documentation vs. Artistic Interpretation: While the painting commemorates a specific historical event, it is also a highly stylized and dramatized representation. Jacques-Louis David, as the First Painter to the Emperor, would have been tasked with creating an image that served Napoleons political agenda, omitting or altering details to achieve a desired effect.