Antoine Gros

(redirected from Antoine-Jean Gros)
Also found in: Wikipedia.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.


Escholier, K. Gros: Ses amis, ses élèves. Paris, 1936.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
He studied at the Fine Arts Academy in Paris before becoming one of the leading pupils of Baron Antoine-Jean Gros. Delaroche's paintings were completed with a smooth surface, giving the appearance of a high finish.
And the drawing in which a great work is first fully conceived as a narrative or formal idea will always be particularly fascinating, as is the case with Antoine-Jean Gros' compositional study for his famous painting of Napoleon visiting the plague-infected soldiers in Jaffa, or Jean-Baptiste Carpeaux' brilliantly animated sketch for his sculptural group The Dance (1869), designed to adorn the facade of Charles Garnier's new Paris opera house.
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.
After the Revolution: Antoine-Jean Gros, Painting and Propaganda Under Napoleon.
The scene is a clever literary rendition of Antoine-Jean Gros's 1804 painting "Bonaparte visitant les pestiferes de Jaffa," with the Centenarian replacing the central figure of Napoleon.
Along with Antoine-Jean Gros and Francois Gerard, Girodet was among David's most celebrated students.
He felt reinvigorated: "Me, I work as though I was only thirty; I love my art the way I did when I was sixteen, and I will die, my friend, brush in hand," he wrote from Brussels in 1817 to his former pupil, Antoine-Jean Gros.
(3) Could there be anything more outre than a French artist (born 1795) who trained under Francois-Joseph Bosio and Antoine-Jean Gros only to become an animalier sculptor, and with desktop-size work to boot?
And then there was Antoine-Jean Gros, who painted the Emperor of the French visiting the pesthouse in Jaffa on March 11 1799.
Besides de Keyser and Cezanne, the other artists featured are Jacopo Bassano, Francesco Primaticcio, El Greco, Francois Boucher, Thomas Gainsborough, Antoine-Jean Gros, Gustave Courbet, Camille Pissarro and James-Jacques-Joseph Tissot.