Napoléon 1898

Editor: This lithograph, "Napoleon," was created in 1898 by Eugène Grasset, seemingly as a poster for the Century Magazine. I find the stylistic choices here rather intriguing. It appears that Grasset is both lionizing Napoleon as well as suggesting a note of the absurd through the horse’s drooping head. How might one interpret the formal elements at play in this work? Curator: The success of this lithograph relies upon its intricate formal structure. Note the calculated arrangement of line, particularly within the billowing mane of the horse and in the lettering. These swirling lines contrast sharply with the more rigid, geometric lines used to depict Napoleon himself. Editor: That's a fascinating point; it certainly makes Napoleon appear quite separate from his setting. The lines are active versus passive. Curator: Precisely. Furthermore, consider the color palette. The artist restricts their chromatic range primarily to earth tones. We may infer that Grasset employs this restrictive palette to visually convey both the naturalness and grounding and yet imbue the depicted setting with an understated dynamism, all the while using warm colors to convey passion. What do you think this all suggests? Editor: So it appears there are contrasts throughout. From a Formalist perspective, this strategic composition may imply Napoleon is more like the observer in this picture? He doesn’t seem to be directing anything within this work of art, he is simply along for the ride! Curator: You're starting to understand how one may deconstruct a work through its constituent parts and visual cues. Consider then, how the relationship of each part helps illuminate potential meaning. Editor: Thank you, I never thought to approach the image that way. Analyzing its visual vocabulary of color and line makes the piece more accessible. Curator: Indeed, that’s why, even with a subject we might feel is known, that deconstruction is a method by which a piece of art, or any object, can be investigated.