Jacques-Louis David · 1821
The Sisters Zénaïde and Charlotte Bonaparte
Posters from $15.00 CAD · Canvas from $39.00 CAD
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Napoleon's nieces Zénaïde and Charlotte embracing on a red velvet sofa strewn with golden Bonaparte bees, reading a letter from their exiled father Joseph. J. Paul Getty Museum.
Up to 24 × 31 in · portrait
Size
Larger sizes are unavailable for this painting because the source scan's resolution wouldn't print at gallery quality.
Format & finish
Archival cotton canvas stretched over a wooden frame. Ready to hang as-is. No external frame.
Scale next to a 5'10" person
+ tax at checkout
Materials & quality
›Canvas & inks
Giclée-printed on archival cotton canvas with fade-resistant pigment inks, hand-stretched over wooden bars. Gallery-wrapped — ready to hang with no extra frame needed.
›Floater frame
Hand-finished solid wood floater frame in five finishes. The canvas sits inside with a clean shadow gap — the way galleries hang contemporary canvas.
›Posters
Premium archival paper — 200 gsm soft matte or 230 gsm vibrant glossy. Ships flat or rolled, ready for your own frame.
›Faithful to the source
Printed from the highest-resolution museum and archive scans available. Each painting's maximum size is capped at what its source scan can support at gallery quality.
The story of The Sisters Zénaïde and Charlotte Bonaparte
David painted the double portrait in Brussels in 1821, where both he and the sisters were living after the fall of Napoleon. The sitters are the daughters of Joseph Bonaparte, former King of Spain, who was then living near Philadelphia; the letter they read is from him. Joseph commissioned the portrait and had it shipped to America, where it was shown at the Pennsylvania Academy of the Fine Arts in 1823. David had taught Charlotte drawing. The Getty Museum acquired the painting in 1986.
Adapted from Wikipedia, available under CC BY-SA 4.0.
Jacques-Louis David
Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s, his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity, severity, and heightened feeling, which harmonized with the moral climate of the final years of the Ancien Régime.
All Jacques-Louis David prints →Biography adapted from Wikipedia, available under CC BY-SA 4.0.
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