Jacques-Louis David · 1812
The Emperor Napoleon in His Study at the Tuileries
Posters from $15.00 CAD · Canvas from $39.00 CAD
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Napoleon standing in the uniform of a colonel of the Imperial Guard beside a desk of papers marked 'Code', the clock at 4:13 and the candles burnt low after a night of work. National Gallery of Art, Washington.
Up to 12 × 20 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 Emperor Napoleon in His Study at the Tuileries
The Scottish nobleman Alexander Hamilton, 10th Duke of Hamilton, commissioned the portrait in 1811 and David finished it in 1812. The clock reading 4:13 and the guttering candles suggest the Emperor has worked through the night on legislation such as the Code Napoléon, while his sword lies ready on the chair. The painting hung at Hamilton Palace until 1882, when it was sold to the 5th Earl of Rosebery. The Samuel H. Kress Foundation acquired it in 1954 and gave it to the National Gallery of Art.
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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