See also:born at
See also:Paris in 1771 . His
See also:father, who was a
See also:miniature painter, began to teach him to draw at the age of six, and showed himself from the first an exacting
See also:master . Towards the close of 1785 Gros, by his own choice, entered the studio of
See also:David, which he frequented assiduously, continuing at the same
See also:time to follow the classes of the
See also:Mazarin . The
See also:death of his father, whose circumstances had been embarrassed by the Revolution, threw Gros, in 1791, upon his own resources . He now devoted himself wholly to his profession, and competed in 1792 for the
See also:grand prix, but unsuccessfully . About this time, how-ever, on the recommendation of the Ecole
See also:Beaux Arts, he was employed on the execution of portraits of the members of the
See also:Convention, and when—disturbed by the development of the Revolution—Gros in 1793
See also:left France for Italy, he supported himself at Genoa by the same means, producing a
See also:great quantity of miniatures and fixes . He visited Florence, but returning to Genoa made the acquaintance of Josephine, and followed her to Milan, where he was well received by her
See also:husband . On
See also:November 15, 1796, Gros was
See also:present with the army near
See also:Arcola when
See also:Bonaparte planted the tricolor on the
See also:bridge . Gros seized on this incident, and showed by his treatment of it that he had found his vocation . Bonaparte at once gave him the
See also:post of " inspecteur aux revues," which enabled him to follow the army, and in 1797 nominated him on the commission charged to select the spoils which should enrich the Louvre . In 1799, having escaped from the besieged city of Genoa, Gros made his way to Paris, and in the beginning of 18o1 took up his quarters in the Capucins . His " esquisse " (Musee de Nantes) of the "
See also:Battle of
See also:Nazareth" gained the prize offered in 1802 by the consuls, but was not carried out, owing it is said to the
See also:jealousy of Junot
See also:felt by
See also:Napoleon; but he indemnified Gros by commissioning him to paint his own visit to the pest-
See also:house of Jaffa .
See also:Les Pestiferes de Jaffa " (Louvre) was followed by the " Battle of
See also:Aboukir " 18o6 (
See also:Versailles), and the " Battle of
See also:Eylau," 18o8 (Louvre) . These three subjects—the popular
See also:leader facing the pestilence unmoved, challenging the splendid instant of victory, heart-sick with the bitter cost of a hard-won field—gave to Gros his chief title to fame . As long as the military
See also:element remained bound up with French
See also:life, Gros received from it a fresh and energetic inspiration which carried him to the very heart of the events which he depicted; but as the army .and its general separated from the
See also:people, Gros, called on to illustrate episodes representative only of the fulfilment of
See also:personal ambition, ceased to find the nourishment necessary to his
See also:genius, and the defect of his
See also:artistic position became evident . Trained in the
See also:sect of the Classicists, he was shackled by their rules, even when—by his naturalistic treatment of types, and
See also:appeal to picturesque effect in
See also:colour and tone—he seemed to run
See also:counter to them . In 1810 his "
See also:Madrid." and "Napoleon at the Pyramids "(VersaiIles) show that his
See also:star had deserted him . His "
See also:Francis I." and "
See also:Charles V.," 1812 (Louvre), had considerable success; but the decoration of the dome of St Genevieve (begun in 1811 and completed in 1824) is the only
See also:work of Gros's later years which shows his early force and vigour, as well as his skill . The " Departure of
See also:Louis XVIII." (Versailles), the " Embarkation of Madame d'Angouleme " (
See also:Bordeaux), the plafond of the
See also:room in the Louvre, and finally his " Hercules and
See also:Diomedes," exhibited in 1835, testify only that Gros's efforts—in accordance with the frequent counsels of his old master David—to
See also:stem the rising
See also:tide of Romanticism, served but to damage his once brilliant reputation . Exasperated by
See also:criticism and the consciousness of failure, Gros sought
See also:refuge in the grosser pleasures of life . On the 25th of
See also:June 1835 he was found drowned on the shores of the
See also:Seine near Sevres . From a paper which he had placed in his
See also:hat it became known that "
See also:las de la
See also:vie, et trahi
See also:par les dernieres facultes qui ].a lui rendaient supportable, it avait resolu de s'en defaire." The number of Gros's pupils was very great, and was considerably augmented when, in 1815, David quitted Paris and made over his own classes to him . Gros was decorated and named baron of the
See also:empire by Napoleon, after the
See also:Salon of 18o8, at which he had exhibited the " Battle of Eylau." Under the Restoration he became a member of the Institute,
See also:professor at the Ecole des Beaux Arts, and was named chevalier of the
See also:order of St Michel . M .
Delecluze gives a brief
See also:notice of his life in Louis David et son temps, and
See also:Meyer's Geschichte der modernen franzosischen Malerei contains an excellent criticism on his
See also:works .
GROS VENTRES (Fr. for " Great Bellies "), or ATSINA...
ALEXANDER BALLOCH GROSART (1827-1899)
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