Comparison of Visual Texts
TASK 2
Part 1
Analysis & Comparison
By
Eva Arce
Definition of a Hero
Bonaparte Crossing the Saint-Bernard
By Jacques-Louis David
Musee National du Chateau de Malmaison,
Rueil-Malmaison
Analysis
I. Work Cited: David, Jacques-Louis David. Bonaparte Crossing the Saint-Bernard
1800. (1801-1805) Rueil-Malmaison: Musée National du Château de
Malmaison.
II. Speaker
Jacques Louis David; commissioned by Charles IV of Spain
III. Style
Oil on Canvas; classical portrait medium
IV. Context
1801-1805 France
David was the official portrait painter for Napoleon
V. Audience
Primary: Napoleon
Citizens of Napoleon’s Empire
Charles IV of Spain wanted to re-establish diplomatic relationships with France
(exchange of gifts)
Analysis
VI. Artist’s Purpose and Method
to define Napoleon as a National hero
VII. Assertion/Main Idea
A great leader is a fearless master of his people who is willing
to invade other territories in order to build his empire.
VIII. Tone
Confident, dominant, assertive
IX. Appeals
Logos: Battle of Merengo decisive French Victory over Austrians;
one of many victories to conquer Europe
Pathos: Respect for military power
Ethos: David was French; he supported Napoleon
Analysis
 Allusions: to his predecessors who also crossed the Alps
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Hannibal (247–183 or 182 BC) Carthaginian
military commander
Charlemagne King of the Franks (768-814) & Emperor
of Rome (800-814)
Character: impassive expression; dominant pose; confidant,
defiant leader;
Detail: right hand =Charge!
Metaphor: Horse = supporters; controlled, scared
Setting: turbulent; winds of war (symbolism)
Definition of an American Hero
Portrait of George Washington (1790)
By John Trumbull
City Hall
New York City
Analysis
I. Work Cited: Trumbull, John. Portrait of GeorgeWashington. (1790)
New York City: City Hall.
II. Speaker
John Trumbull
III. Style
Oil on Canvas; classical portrait medium
IV. Context
New York City; after winning the American Revolution
Trumbull was the official portrait painter for Washington
V. Audience
Primary: New Yorkers
Analysis
 VI. Artist’s Purpose and Method
to define Washington as a National hero
VII. Assertion/Main Idea
A great leader is a visionary who considers his supporters.
 VIII. Tone
Calm, pensive, tranquil
 IX. Appeals
Logos: commander in chief; established a democracy
Pathos: pride in his accomplishments
Ethos: Trumbull was an aide-de-camp to Washington during the
American Revolutionary War
Analysis
 Allusion: American Revolution
 Character: thoughtful expression; his pensive eyes are focused on
some distant point (the future of the country?), relaxed pose
 Detail: right arm resting on horse
 Juxtaposition: Standing next to his horse rather than mounted (shows
consideration for those who support him)
 Metaphor: Horse = supporters; tranquil horse; horse’s eye reflects trust
 Setting: Blue sky; serene background (symbolism)
Leaders establish government values.
List of Similarities
 National heroes
 Military dress; military pride
 Outside with their horses
 Men in background
 Contemporary painters of their
subjects
T-Chart of Differences
Napoleon
Washington
 Arrogant
 Pensive
 Aggressor
 Visionary
 Turbulent
 Peaceful
 Domineering
 Democratic
 Emperor
 President
 Dictatorship
 Democracy
Assertion
Democratic leaders appear to be
rational visionaries while emperors
seem to be arrogant aggressors.
Or
David and Trumbull portray national
heroes who reflect the values of their
country under their leadership.
Napoleon Leading the Army over the
Alps, 2005
KehindeWiley
Oil on canvas
Brooklyn Museum
Brooklyn, New York
Analysis
 Allusion: Jacques Louis David’s Napoleon…
 Juxtaposition: Modern (hip-hop) attire against French
Rococo patterns
 Character: Replacement of Napoleon with young African
American male; masculine dominance of black male in a
position of power previously denied to him
 Satire: model mocking theatrical pose
(posing for
power)
Analysis
 Point of View: Bold new model informs the
viewer that our cultural landscape has shifted.
 Paradox: No longer do elite white males drive
society
 Assertion: Men of color have the power to
influence our cultural trends.
The Brooklyn Museum
Although these paintings reflect a shift in
cultures, both aggrandize the models.
What comment has the artist made by
juxtaposing a horse with the subject ?
HORSES AS AN ARTIST’S DEVICE
By placing a horse in the composition,
what comment do the following artists
make about the subject?
Captain George K. H. Coussmaker
(1759–1801)
by
Sir Joshua Reynolds (British,
Plympton 1723–1792 London)
Reynolds gave close attention to
his portrait of George Kein
Hayward Coussmaker, a
lieutenant and captain in the
first regiment of Foot Guards.
No fewer than twenty-one
appointments—and at least
two more for the sitter's
horse—are recorded between
February 9 and April 16, 1782.
The composition is complex
and the whole vigorously
painted.
Metropolitan Museum of Art
New York City
Don Gaspar de Guzmán (1587–1645),
Count-Duke of Olivares
by
Velázquez (Diego Rodríguez de Silva y
Velázquez) (Spanish, Seville 1599–
1660 Madrid)
The Count-Duke of Olivares was
Philip IV’s powerful prime
minister between 1621 and
1643. This picture is either a
preliminary model or a
reduced variant of a large
equestrian portrait of the
count-duke (Prado, Madrid),
painted perhaps in celebration
of a victory over the French at
the border town of
Fuenterrabía in 1638. In full
armor and holding a baton, he
is shown as a victorious
commander. His horse holds a
dressage position known as a
levade.
Gallery Label
Metropolitan Museum of Art
George Harley Drummond (1783–1855)
Sir Henry Raeburn (British, Stockbridge,
Scotland 1756–1823 Edinburgh, Scotland)
The sitter, dressed in riding clothes, is
George Harley Drummond of
Stanmore, Middlesex, and
Drumtochty. He married in 1801
and his son George, shown in "The
Drummond Children"
(50.145.31), was born in 1802.
The foreshortened view of the
grazing bay horse is the most
complex part of the composition,
though not the most important. It
is curious, therefore, that the
animal's hindquarters should be so
prominently displayed.
Gallery Label
Metropolitan Museum of Art
New York City