Bonaparte Crossing the Alps Bonaparte Crossing the Alps ( also called Napoleon Crossing the Alps , despite the existence of another , more well - known painting with that name ) is an 1848 – 1850 oil - on - canvas portrait of Napoleon Bonaparte , by French artist Hippolyte Delaroche . The painting depicts Bonaparte leading his army through the Alps on a mule , a journey Napoleon and his army of soldiers made in the spring of 1800 , in an attempt to surprise the Austrian army in Italy . The two main versions of this painting that exist are in the Louvre in Paris and the Walker Art Gallery in Liverpool , England . Queen Victoria also obtained a reduced version of it . The work was inspired by Jacques - Louis David ' s series of five " Napoleon Crossing the Alps " paintings ( 1801 – 1805 ) . David ' s works also show Napoleon ' s journey through the Great St . Bernard Pass , but there are significant stylistic differences between the two conceptions . Delaroche ' s Napoleon is cold and downcast , whereas David ' s wears a pristine uniform , and is idealized as a hero . Delaroche was commissioned to paint a realistic portrait ; the style of which was emerging at the time . While the painting largely represented — and was one of the pioneers of — an emerging style , the work was criticised by several authorities on the subject . The reasons for this varied from Delaroche ' s depiction of the scene to a general disapproval of Delaroche himself . Many of those who were in the latter state of mind felt that Delaroche was trying to match the genius of Napoleon in some way , and had failed miserably in doing so . Background . Historical background . As part of his during the French Revolutionary Wars , Napoleon prepared to invade and conquer Egypt , which was at the time a province of the Ottoman Empire . Such a military action promised numerous benefits , including securing French trade interests , and inhibiting British access to India . By 1 July 1798 , Napoleon had landed on the shores of Egypt . After a lengthy chain of conflicts with heavy casualties , the campaign resulted in an Ottoman - British victory . Napoleon received news from France that Austrian forces had retaken Italy and he decided to return to Paris . In order to regain the upper hand , he planned to launch a surprise assault on the Austrian army stationed in the Cisalpine Republic . Based on the assumption the Austrians would never expect Napoleon ' s large force to be able to traverse the Alps , he chose that as his route . He selected the shortest route through the Alps , the Great St Bernard Pass , which would enable him to reach his destination as quickly as possible . On 15 May 1800 , Napoleon and his army of 40 , 000 — not including the field artillery and baggage trains — ( 35 , 000 light artillery and infantry , 5 , 000 cavalry ) began the arduous journey through the mountains . During the five days spent traversing the pass , Napoleon ' s army consumed almost 22 , 000 bottles of wine , more than a tonne and a half of cheese , and around 800 kilograms of meat . Following his crossing of the Alps , Napoleon commenced military operations against the Austrian army . Despite an inauspicious start to the campaign , the Austrian forces were driven back to Marengo after nearly a month . There , a large battle took place on 14 June , which resulted in the Austrian evacuation of Italy . Delaroche . Delaroche ' s early works had been based on topics from the Bible ' s Old Testament , but gradually his interests switched to painting scenes from English and French history . He ' combined colouristic skill with an interest in detailed scenes from history ' . " Bonaparte Crossing the Alps " , which was painted roughly eight years before Delaroche ' s death , exemplifies this phase in Delaroche ' s career . The commissioning aside , Delaroche was inspired to create " Bonaparte Crossing the Alps " because he felt that he both looked like Napoleon , and that his achievements were comparable to Napoleon ' s . It is likely that Delaroche ' s painting is relatively historically accurate ; details such as Napoleon ' s clothes appear to have been researched by Delaroche in an effort at authenticity . Painting . Commissioning of painting . The Liverpool painting was commissioned by Arthur George , Third Earl of Onslow , after Delaroche and George reportedly visited the Louvre in Paris , where they saw David ' s version of the famous event . It had only recently been re - hung in the museum after a resurgence of interest in Napoleon , nearly 40 years after he was exiled . Agreeing that the painting was unrealistic , George , who owned a sizable collection of Napoleonic paraphernalia , commissioned Delaroche to create a more realistic depiction . Elizabeth Foucart - Walker asserts that in fact the painting that hangs in the Louvre was produced first as it was already in America by 1850 , when the Liverpool painting was produced . Stephen Bann suggests that Arthur George ' s meeting with Delaroche may have occurred , but Delaroche chose to produce two works that are almost identical and send one to America . The Liverpool version of the painting is more refined . Contrast to David ' s depiction . The contrast between Jacques - Louis David ' s depiction of the same scene ( of Napoleon traversing the Alps on his way to Italy ) , which was a flattering portrait that the king of Spain requested for Napoleon ( as a gift ) and Delaroche ' s depiction in " Bonaparte Crossing the Alps " is easily apparent . The first and most significant difference is in Napoleon , in his clothing , and in his general stature . David ' s version depicts Napoleon , dressed in an immaculate , multi - coloured uniform with a billowing cape . Delaroche ' s version , however , sees Napoleon in a fairly ordinary , gray coat with the sole purpose of keeping the cold away , rather than showing him as the symbol he may have represented - that of a gallant and powerful war leader , which is the impression given in David ' s version . However , there is another significant difference in Napoleon himself , in the way he holds himself . David ' s Napoleon is flamboyant , confident in his leadership of the French army , and in his ability to cross the Alps and defeat the Austrians in Italy . Delaroche ' s Napoleon is instead downcast , gaunt and embittered by the harsh cold . His eyes and expressionless face evidence his weariness , his tiredness a result of the long and unstable trek . The last properly significant difference in the two art works ( excluding the actual setting , background , men seen in the distance etc . ) is the difference in the animals that Napoleon rides on . In David ' s version , Napoleon rides a large , strong steed with a long mane , and this is one figment of David ' s version that is irrefutably untrue - Napoleon is known to have ridden a mule on his journey ( which was borrowed from a local peasant ) , rather than a horse . This presence of a horse rather than a mule was one of the most major grounds for Delaroche ' s criticism of David ' s version , and is the basis of Delaroche ' s claim that " Bonaparte Crossing the Alps " , which includes a mule , is a more realistic portrayal of the scene . Analysis . Setting . Napoleon is seen wearing clothing appropriate for his location : over his uniform he wears a long topcoat which is wrapped firmly around him , in which he keeps his gloveless right hand warm . He retains a piece of his dignity in the gold - trimmed black bicorne he wears on his head . The mule Napoleon rides is undernourished , tired from its ordeal in struggling through the Alps . On the left of the mule is his guide , Pierre Nicholas Dorsaz , who must constantly push himself and the mule forward , and who leans heavily on the shaft of wood he clutches in his left hand to allow himself to continue moving forward . His clothes are weather - beaten , his face ruddy from the cold . He is not allowed the luxury of riding an animal , for he must be able to navigate independently , on the ground . Elements of the cold , harsh environment of the Alps are apparent : distant mountains capped in snow rise up behind Napoleon and his troupe , while a steep cliff face appears on his left , and the path underfoot has a thick layer of ice . More members of Napoleon ' s entourage can be seen slightly behind him , their robust figures accentuating Bonaparte ' s fragility . Napoleon is shown to be as he would have been high up in the mountains , as a mortal and imperilled man . While this seems in some way demeaning to Napoleon ' s figure ( and contrasts in the extreme with David ' s version , which shows Napoleon impervious to the cold , and in a heroic light ) , Delaroche ' s artwork was not intended to portray him in a hostile or unbecoming way . Delaroche wanted to depict Napoleon as a credible man , who suffered and underwent human hardship too , on his most daring exploits , and felt that making him appear as he really would have been in the situation would by no means debase or diminish Napoleon ' s iconic status or legacy , but rather make him a more admirable person . Artistic style . Along with the mass of white seen behind Napoleon , the amber sunlight glow , originating from the West of Napoleon ' s troupe , is the central source of lighting in the painting . It introduces contrast when coupled with shadow , and , by illumination , highlights key aspects of the scene ; this is particularly seen by the light that falls across Bonaparte ' s pigeon chest . Napoleon and the mule he is saddled on are richly textured visually by the contrasting light and shade , as is the guide leading the mule . The ice and snow layers , also , are made whiter by the sunshine from the West , brightening the whole scene . However , the overhanging cliff on the left of Napoleon ' s guide and the legs of the mule both cast shadows to balance the lighting scheme of the painting . The textural hues and schemes that Delaroche uses in this painting are quite detailed and well considered , especially in regards to the most important figures ; such aspects of the work were described as being ' . . . 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 mule , especially its fur , was intensely textured and detailed to make it look visually rough and bristly , and the mule itself weary and worn . The same techniques were applied to the red and yellow adornments draped and hung over the animal . The central detail of Napoleon is applied to his coat , in its ruffles and creases . Much detail and textural diversity is given to the guide too , most particularly to his face , his green , wind - caught tunic , and his leather boots . Delaroche ' s attention to detail and literal precision in this painting evidences and demonstrates the slow but steady evolution of realism in art during the 19th century , and how its popularity began to rise . Reception . 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 : 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 :