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MATHIEU-IGNACE VAN BRÉE ANVERS, 1773/1839
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MATHIEU-IGNACE VAN BRÉE ANVERS, 1773/1839
Presentation of the King of Rome to the City of Ghent
Oil on canvas
85 x 60 cm
Mathieu-Ignace Van Brée (1773/1839) was an Antwerp neo-classical painter. Inspired by political events, he produced many paintings of circumstances, allowing him to celebrate the French regimes in power in Belgium. He was awarded the second Prix de Rome of the Royal Academy of Painting and Sculpture in 1797 and was a professor at the Antwerp Academy of Painting from 1803 until his death.
In our painting, Van Brée depicts the birth of Napoleon's son in 1811, which was celebrated with enthusiasm throughout the Empire. He places this scene in the city of Ghent, which can be recognised by the coat of arms on the right of the composition, and thus celebrates, through a rich allegory, the regime uniting Belgium and France at that time.
Indeed, the composition of our painting is based around the newborn child presented by the allegory of France, recognisable by the eagle at her feet and the bees on her harness, to a young woman who we could identify as an allegory of the city of Ghent. Juno Lucina, goddess of childbirth, is staring at the scene.
To the right of the composition, another allegory of the city of Ghent, identified by the coat of arms she is holding, is enjoining Clio, goddess of history, to record this memorable event on her history plates. The four figures at their feet, allegories of the liberal arts, fulfil the same role and celebrate the birth of the King of Rome with their work.
Numerous other symbols refer to the prestige and prosperity brought by the birth of Napoleon's son. Overlooking the scene, a winged genie announces the birth and pours flowers and gold from his horn of plenty. To his left, Juno accompanied by her peacock symbolizes eternity. A she-wolf and the Tiber in the background are elements that refer to his title of King of Rome.
Mathieu-Ignace Van Brée was the subject of a retrospective exhibition in Antwerp in 1849 and of detailed studies in the exhibition 1770/1830. Autour du Néo-Classicisme en Belgique at the Musée d'Ixelles in 1985. His work is particularly characteristic of the Belgian neo-classical style, of which Ghent was an important centre. A painting by Van Brée with a similar purpose, entitled Entrée de Bonaparte et de Joséphine à Anvers, le 18 juillet 1803, is currently in the Château de Versailles.
Presentation of the King of Rome to the City of Ghent
Oil on canvas
85 x 60 cm
Mathieu-Ignace Van Brée (1773/1839) was an Antwerp neo-classical painter. Inspired by political events, he produced many paintings of circumstances, allowing him to celebrate the French regimes in power in Belgium. He was awarded the second Prix de Rome of the Royal Academy of Painting and Sculpture in 1797 and was a professor at the Antwerp Academy of Painting from 1803 until his death.
In our painting, Van Brée depicts the birth of Napoleon's son in 1811, which was celebrated with enthusiasm throughout the Empire. He places this scene in the city of Ghent, which can be recognised by the coat of arms on the right of the composition, and thus celebrates, through a rich allegory, the regime uniting Belgium and France at that time.
Indeed, the composition of our painting is based around the newborn child presented by the allegory of France, recognisable by the eagle at her feet and the bees on her harness, to a young woman who we could identify as an allegory of the city of Ghent. Juno Lucina, goddess of childbirth, is staring at the scene.
To the right of the composition, another allegory of the city of Ghent, identified by the coat of arms she is holding, is enjoining Clio, goddess of history, to record this memorable event on her history plates. The four figures at their feet, allegories of the liberal arts, fulfil the same role and celebrate the birth of the King of Rome with their work.
Numerous other symbols refer to the prestige and prosperity brought by the birth of Napoleon's son. Overlooking the scene, a winged genie announces the birth and pours flowers and gold from his horn of plenty. To his left, Juno accompanied by her peacock symbolizes eternity. A she-wolf and the Tiber in the background are elements that refer to his title of King of Rome.
Mathieu-Ignace Van Brée was the subject of a retrospective exhibition in Antwerp in 1849 and of detailed studies in the exhibition 1770/1830. Autour du Néo-Classicisme en Belgique at the Musée d'Ixelles in 1985. His work is particularly characteristic of the Belgian neo-classical style, of which Ghent was an important centre. A painting by Van Brée with a similar purpose, entitled Entrée de Bonaparte et de Joséphine à Anvers, le 18 juillet 1803, is currently in the Château de Versailles.