In this artwork, how is the Influences discussed?
After Napoleon's rise to power and the victory at Marengo, the fashion was for allegorical portraits of Bonaparte, glorifying the new Master of France, such as Antoine-François Callet's Allegory of the Battle of Marengo, featuring Bonaparte dressed in Roman costume and flanked by winged symbols of victory, and Pierre Paul Prud'hon's Triumph of Bonaparte, featuring the First Consul in a chariot accompanied by winged figures. David chose symbolism rather than allegory. His figure of Bonaparte is heroic and idealized but it lacks the concrete symbols of allegorical painting.Faithful to his desire for a "return to the pure Greek" (retour vers le grec pur), David applied the radical neo-classicism that he had demonstrated in his 1799 The Intervention of the Sabine Women to the portrait of Bonaparte, with the use of contemporary costumes the only concession. The horse from the first version is almost identical in posture and colouring to one featured in the melee of The Intervention of the Sabine Women.The youthful figure of Bonaparte in the initial painting reflects the aesthetic of the "beautiful ideal" symbolized by the "Apollo Belvedere" and taken to its zenith in The Death of Hyacinthos by Jean Broc, one of David's pupils. The figure of the beautiful young man which David had already painted in La Mort du jeune Bara is also present in The Intervention of the Sabine Women. The youthful posture of David's son, forced into posing for the artist by Bonaparte's refusal to sit, is evident in the attitude of the Napoleon portrayed in the painting; with his legs folded like the Greek riders, the youthful figure evokes the young Alexander the Great mounted on Bucephalus as seen on his sarcophagus (now in the archaeological museum of Istanbul).
For the horse, David takes as a starting point the equestrian statue of Peter the Great, The Bronze Horseman by Étienne Maurice Falconet in Saint Petersburg, duplicating the calm handling of a rearing horse on rocky ground. There are also hints of Titus in The Destruction of the Temple of Jerusalem by Nicolas Poussin, a painter who strongly influenced David's work. The horses of the Greek statuary which appear many times in David's notebooks point to the bas-reliefs of the Parthenon as a source of inspiration.
Napoleon Nicolas Poussin Bucephalus The Bronze Horseman Battle of Marengo Apollo Belvedere First Consul Peter the Great Pierre Paul Prud'hon equestrian statue sarcophagus Saint Petersburg The Intervention of the Sabine Women allegory Parthenon Bronze Horseman Marengo Alexander the Great Allegory Jean Broc Alexander Istanbul Belvedere Étienne Maurice Falconet The Death of Hyacinthos The Destruction of the Temple of Jerusalem Antoine-François Callet