Exhibition labels & didactics - National Gallery of Victoria
Exhibition labels & didactics - National Gallery of Victoria Exhibition labels & didactics - National Gallery of Victoria
174 JACOB FRÈRES (attributed to) manufacturer France 1796–1803 Charles PERCIER (after) designer Gondola armchair from Madame Bonaparte’s boudoir at Saint-Cloud Palace Fauteuil gondole du boudoir de Madame Bonaparte au château de Saint-Cloud 1802 gilt and painted Beech (Fagus sp.) and Walnut (Juglans sp.), velvet, gold thread Musée national des châteaux de Malmaison & Bois-Préau, Rueil-Malmaison inv. MM 40.47.942 on deposit from the Mobilier National, Paris inv. GMT 1504 Percier and Fontaine prepared numerous designs for the refurbishment of the Château de Saint-Cloud, which had become one of the official residences of the First Consul after he was proclaimed Consul-for-Life. For Madame Bonaparte’s boudoir, Percier conceived this design for a gondola armchair decorated with three-dimensional swans. The grace and elegance of the swan reflected in a flattering manner those same qualities in Josephine herself. The swan became particularly associated with Josephine after the rare black swans from Australia were settled at Malmaison in 1803. © COPYRIGHT This document remains the property of the National Gallery of Victoria and must be returned upon request. Reproduction in part or in whole is prohibited without written authorisation.
Baron François GÉRARD French 1770–1837 Maria Laetitia Ramolino Bonaparte, called Madame Mère c. 1800–04 oil on canvas Scottish National Gallery, Edinburgh Purchased with the aid of the Art Fund, 1988 NG 2461 Baron François Gérard was the major portrait painter in France during the Napoleonic era. This hieratic image of Imperial matriarchy is one of three grand portraits he painted of Napoleon’s Corsican mother, Maria Laetitia Ramolino. In 1805, shortly after his coronation as Emperor, Napoleon conferred on his mother the title ‘Son Altesse Impériale, Madame Mère de l’Empereur’ (Her Imperial Highness, Madame Mother of the Emperor), an honour of which she strongly disapproved, though she was generally known as ‘Madame Mère’. 175 © COPYRIGHT This document remains the property of the National Gallery of Victoria and must be returned upon request. Reproduction in part or in whole is prohibited without written authorisation.
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Baron François GÉRARD<br />
French 1770–1837<br />
Maria Laetitia Ramolino Bonaparte,<br />
called Madame Mère<br />
c. 1800–04<br />
oil on canvas<br />
Scottish <strong>National</strong> <strong>Gallery</strong>, Edinburgh<br />
Purchased with the aid <strong>of</strong> the Art Fund, 1988 NG 2461<br />
Baron François Gérard was the major<br />
portrait painter in France during the<br />
Napoleonic era. This hieratic image <strong>of</strong><br />
Imperial matriarchy is one <strong>of</strong> three grand<br />
portraits he painted <strong>of</strong> Napoleon’s Corsican<br />
mother, Maria Laetitia Ramolino. In 1805,<br />
shortly after his coronation as Emperor,<br />
Napoleon conferred on his mother the title<br />
‘Son Altesse Impériale, Madame Mère de<br />
l’Empereur’ (Her Imperial Highness, Madame<br />
Mother <strong>of</strong> the Emperor), an honour <strong>of</strong> which<br />
she strongly disapproved, though she was<br />
generally known as ‘Madame Mère’.<br />
175<br />
© COPYRIGHT<br />
This document remains the property <strong>of</strong> the <strong>National</strong> <strong>Gallery</strong> <strong>of</strong> <strong>Victoria</strong> and must be returned upon request. Reproduction in part or in whole is prohibited without written authorisation.