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The Coronation of Napoleon
The Coronation of Napoleon (French: Le Sacre de Napoléon) is a painting completed in 1807 by Jacques-Louis David, the official painter of Napoleon, depicting the coronation of Napoleon at Notre-Dame de Paris. The oil painting has imposing dimensions – it is almost 10 metres (33 ft) wide by a little over 6 metres (20 ft) tall. The work is on display at the Louvre Museum in Paris. The work was commissioned by Napoleon orally in September 1804, and Jaques-Louis started work on it on 21 December 1805 in the former chapel of the College of Cluny, near the Sorbonne, which served as a workshop. Assisted by his student Georges Rouget, he put the finishing touches in January 1808.

From 7 February to 22 March 1808, the work was exhibited at the Salon annual painting display in 1808, and it was presented to the Salon decennial prize competition in 1810. The painting remained the property of David until 1819, when it was transferred to the Royal Museums, where it was stored in the reserves until 1837. Then, it was installed in the Chamber Sacre of the museum of the historical Palace of Versailles on the orders of King Louis-Philippe. In 1889, the painting was transferred to the Louvre from Versailles.

David was commissioned by American entrepreneurs to paint a full size replica, in 1808, immediately after the release of the original. He began work that year, painting it from memory, but didn't finish until 1822, during his exile in Brussels. The replica was eventually returned to France in 1947, to the original's place in the Palace of Versailles.

The painting is a subject of The Public Viewing David's 'Coronation' at the Louvre, a painting by Louis-Léopold Boilly done in 1810, currently housed at the Metropolitan Museum of Art.

The Death of Marat
The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, David painted it when he was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his murder by Charlotte Corday on 13 July 1793. Art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".[1]

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling with a note promising details about a counter-revolutionary ring in Caen.[citation needed]

Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder. When he was murdered Marat was correcting a proof of his newspaper L'Ami du peuple. The blood stained page is preserved. In the painting the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Libery Leading the People
Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X. A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution – the tricolor, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789. Liberty Leading the People is exhibited in the Louvre in Paris. By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting.[2] Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterized the academic art of his time, and instead gave a new prominence to freely brushed color. Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Portrait of Louis XIV
Portrait of Louis XIV in Coronation Robes was painted in 1701 by the French painter Hyacinthe Rigaud after being commissioned by the king who wanted to satisfy the desire of his grandson, Philip V, for a portrait of him. Louis XIV kept it hanging at Versailles. It has since become the most recognisable portrait of the king. On the death of King Charles II of Spain on 18 November 1700, Spain was beset by the dynastic ambitions of other European powers, resulting in a succession war. The Spanish king's will ruled out any idea of sharing and placed Philip, Duke of Anjou, second son of the Grand Dauphin and grand-son of Louis XIV at the forefront of legitimate contenders for the crown. The future king of Spain, eager to take with him the image of his grandfather, convinced Louis XIV to order Hyacinthe Rigaud to paint what would become the absolute image of royal power and the reference picture for generations to come:

His reputation [Rigaud's] having reached the king, because of the portrait he had done of the Grand Dauphin as commander at the siege of Philippsburg, he had the honor in 1700, to be appointed by His Majesty to paint Philip V, king of Spain, his grandson, a few days before his departure to take possession of his kingdom. This work inspired the king of Spain's request to the king, his grandfather, to give him his portrait painted by the same hand, which His Majesty granted him. Rigaud had the honor to start the following year; and when it was finished, the monarch found the resemblance so perfect and so beautifully decorated, he ordered Rigaud to make a copy of the same size, to send to the king of Spain, instead of the original. His Most Christian Majesty is painted standing, clad in his royal apparel. This picture is ten and a half feet high; it is located in Versailles, in the throne room, and the picture of the king of Spain is in the private room of His Majesty. Such were the statements of Hyacinthe Rigaud, through a friend, in the autobiography he sent to the Grand Duke of Tuscany Cosimo III in 1716. These statements are corroborated by the mention of the corresponding payment in the books of accounts of the artist, in 1701: "The King and the King of Spain, and a copy of King's portrait of the same size as the original for his Catholic Majesty, in all 12,000 pounds ", the price of three pictures. The same payment is charged to the royal buildings accounts on September 16, 1702: "Two large portraits of the King full-length, with the small sketch for the said portraits, as well as one for the full-length portrait of the king of Spain.

Rue Montorgueil
Rue Montorgueil (French pronunciation: ​[ʁy mɔ̃tɔʁɡœj]) is a street in the 1st arrondissement and 2nd arrondissement (in the Montorgueil-Saint Denis-Les Halles district) of Paris, France. Lined with restaurants, cafés, bakeries, fish stores, cheese shops, wine shops, produce stands and flower shops, rue Montorgueil is a place for Parisians to socialize while doing their daily shopping. At the southernmost tip of rue Montorgueil is Saint-Eustache Church, and Les Halles, containing the largest indoor (mostly underground) shopping mall in central Paris; and to the north is the area known as the Grands Boulevards. While cars are not banned from the street, the priority is for pedestrians who can enjoy the cafes and shops while walking down the cobblestones.

The Church at Auvers
The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.

The actual church is in Place de l'Eglise, Auvers-sur-Oise, France, 27 kilometres (17 mi) north-west of Paris. The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.[1] A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."[2]

He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:

I have a larger picture of the village church — an effect in which the building appears to be violet-hued against a sky of simple deep blue colour, pure cobalt; the stained-glass windows appear as ultramarine blotches, the roof is violet and partly orange. In the foreground some green plants in bloom, and sand with the pink flow of sunshine in it. And once again it is nearly the same thing as the studies I did in Nuenen of the old tower and the cemetery, only it is probably that now the colour is more expressive, more sumptuous.[3]

The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.

The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own. After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1[5] of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church' The motif of diverging paths also appears in his painting Wheat Field with Crows.