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Antoine Gros
(redirected from Antoine-Jean Gros)

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Gros, Antoine 

Born Mar. 16, 1771, in Paris; died there June 26, 1835. French painter. Son of a miniature painter.

Gros studied in Paris under J. L. David beginning in 1785 and at the Royal Academy of Painting and Sculpture in 1787. From 1793 to 1801 he worked in Italy. In his early works and in a number of his battle paintings, Gros depicted Napoleon as a man of passionate heroics; Napoleon on the Bridge at Arcole (circa 1797–98), in the Louvre in Paris; Battle of Nazareth (1801), in the Museum of Fine Arts in Nantes; Napoleon Visiting the Pesthouse at Jaffa (1803–04) and Battlefield of Eylau (1808), both in the Louvre in Paris. The vibrant expressiveness of these paintings startled Gros’ contemporaries. He also introduced a vividly passionate quality into his formal portraits, such as Colonel Fournier-Sartovèze (1812, Louvre). These works led to the destruction of the canons of classical painting and influenced the romanticists T. Géricault and E. Delacroix. However, his position as the official painter of Napoleon I encouraged Gros to adopt a false enthusiasm, to flatter his subject by idealization, and to be unscrupulous. In the Restoration he began to glorify the Bourbons. He also painted pictures on subjects from the ancient world and the Middle Ages.

REFERENCE

Escholier, K. Gros: Ses amis, ses élèves. Paris, 1936.


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As a result Bonington found himself in Paris in 1818, enrolled and drawing from the antique in the studio of Antoine-Jean Gros, a time-server and oddly romanticising Neoclassicist, whose unusual career began as an adulator of Napoleon and ended with his fresco on the dome of the Pantheon in Paris of the apotheosis of the restored Bourbon monarchy, for which King Charles X made him a Baron.
RC) Antoine-Jean Gros - Napoleon in the Plague House at Jaffa (1804) This passionate enthusiast for Napoleon (unable to face Restoration France, Gros eventually killed himself) portrays his idol as a Christ-like figure walking among plague victims, in a stupendous painting whose Romanticism somehow makes the word "propaganda" seem petty.
Between 1780-97, Jean-Germain Drouais, Francois-Xavier Fabre, Francois Gerard, Antoine-Jean Gros, Jean-Baptiste Joseph Wicar, Jean-Baptiste Isabey, Francois Topino-Lebrun, Philippe Auguste Hennequin, and Jean Auguste Dominique Ingres all were admitted to it.
 
 
 
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