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The work, despite its attempt to depict Napoleon realistically, was criticised by several authorities for a variety of reasons. A few disapproved of Delaroche's choice of painting, while others disapproved of Delaroche himself, saying, in some form, that he sought the genius of Napoleon, to no avail.Soon after its completion, the work was taken to England, and there, in 1850, it was reviewed by the critic of the Atheneum, a literary magazine. The magazine's comments on the work indicated that, while they praised the painting for several of its features, they criticised Delaroche, for various reasons:An Officer in a French costume, mounted on a mule, is conducted by a rough peasant through a dangerous pass, whose traces are scarcely discernible through the deep-lying snow; and his aide-de-camp is just visible in a ravine of the towering Alps. These facts are rendered with a fidelity that has not omitted the plait of a drapery, the shaggy texture of the four-footed animal, nor a detail of the harness on his back. The drifting of the embedded snow, the pendent icicle which a solitary sun-ray in a transient moment has made-all are given with a truth which will be dear to those who exalt the Dutch School for like qualities into the foremost rank of excellence. But the lofty and daring genius that led the humble Lieutenant of Ajaccio to be ruler and arbiter of the destinies of the larger part of Europe will be sought in vain by M. Delaroche.
Some were displeased with Delaroche's work at the time in general, and, in part, Bonaparte Crossing the Alps, criticising what was described as his 'lowered standards in art'. Such critics included The Gentleman's Magazine, who wrote the following text about Delaroche:These all reveal a modification in his style, but not a happy one. His more recent works are not calculated to restore him the sympathy he had lost. It must be confessed that Delaroche is an artist of talent rather than a genius. Education and diligent study qualified him to be a painter, but not an artist, in the true sense of that word. For he has failed in the true mission of the artist-that of advancing the education of the masses; when it was in his power to give an impulse, he yielded to it; he has been a reflection, but not a light; and instead of elevating the public to himself, he has lowered himself to the public.
Napoleon the Atheneum Alps The Gentleman's Magazine