Jacques-Louis David · 1810
The Distribution of the Eagle Standards
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Napoleon, on a raised platform at the left, blesses the regimental eagles held out to him by marshals and standard-bearers on 5 December 1804, three days after his coronation, while a grenadier in a bearskin stands at the right edge. Palace of Versailles.
Up to 25.6 × 16 in · landscape
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
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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 Distribution of the Eagle Standards
The painting depicts a military ceremony of 5 December 1804 by which Napoleon sought to revive the military ethos of the Roman Empire; the standards were modelled on the Roman aquila. David first included a winged Nike over the troops, but Napoleon objected to such an unrealistic feature and insisted that Josephine be removed. The composition was heavily influenced by the friezes of Trajan's Column. It was shown at the Salon of 1810 and hangs in the Salle du Sacre at Versailles.
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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