The Last Days of Napoleon by Vincenzo Vela
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This compelling sculpture by Vincenzo Vela depicts the deposed emperor Napoleon in his final days
Key Features
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- This exceptional sculpture by Swiss artist Vincenzo Vela is titled "Last Days of Napoleon"
- Crafted of patinated bronze, the piece depicts Napoleon ion his deathbed, in contemplation
- This sculpture is an example of Vela's verist aesthetic, capturing his subject in a realistic pose
- Signed "V. VELA. F 1867" and "F. Barbadienne, Fondeur, Paris"; numbered 24
- Bronze: 11 1/2" wide x 15 1/2" deep x 17" high
Item Details
- Width:
11 1/2 Inches - Height:
17 Inches - Depth:
15 1/2 Inches - Period:
19th Century - Origin:
France - Material:
Bronze - Artist:
Other
Vincenzo Vela
1820-1891 · Swiss
Last Days of Napoleon, or Napoleon à Ste. Helene
Bronze on rouge marble and wood base
Signed "V. VELA. F 1867" and "F. Barbadienne, Fondeur, Paris"; numbered 24
Bronze: 11 1/2" wide x 15 1/2" deep x 17" high
This highly evocative bronze sculpture by Vincenzo Vela captures the deposed emperor Napoleon on his deathbed, holding a map of Europe and lost in thought about "what might have been." Remarkable among most portraits of the exiled leader, this intriguing and highly detailed sculpture depicts Napoleon at his most vulnerable. Nonetheless, Vela perfectly captures Napoleon's still heroic bearing, which imparts to this composition a monumental quality and quiet dignity. The mate to this figure is the colossal marble at the Musée du Chteau de Malmaison. Shown at the Paris Salon of 1867, this marble caused a great sensation, and elicited much debate as to whether it was too Realist or too Romantic. Cast by the famed Barbadienne foundry, this bronze is truly a masterpiece of 19th-century.
Vela was one of the great exponents of realism in sculpture and the founder of the verismo movement in Italy. Born in Ligornetto in 1820, he studied under celebrated sculptor, Benedetto Cacciatori. He was also influenced both by the work of Tuscan sculptor Lorenzo Bartolini, who seamlessly combined neoclassicism with naturalistic qualities, and the romantic painting of Francesco Hayez. Vela soon became one of the most important promoters of realist and verist sculpture, which emphasizes true-to-life depictions of subjects. This was a reaction to the more idealistic, classical aesthetic espoused by artists such as Canova.
Vela taught at the Albertina Academy in Turin for many years and continued to sculpt, which garnered great success beginning in 1867, and showed his work at numerous Salons in Italy. He then moved to Ligornetto where he established his workshop, which he built as a home and museum. Vela placed great emphasis on the depiction of the social and heroic value of human action. A fervent patriot, he was also active both politically and culturally, and was elected to the Grand Counsel in Ticino. Today, Vela's works are preserved in the Museo Vela at Ligornetto. Others can be found in Lugano, Bellinzona, Airolo, as well as Milan and Turin. Vincenzo Vela died on the 3rd of October 1891.
Artist's Museums:
Museo Vela, Lignoretto, Switzerland
Versailles
National Museum, Rome
Simu Museum, Bucharest
Musée d'Orsay Collection Database, Paris
Réunion des Musées Nationaux, France
Courtauld Institute of Art, London, UK
Galleria Civica d'Arte Moderna e Contemporanea, Turin
Smart Museum of Art, University of Chicago
Reference:
Dictionaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, 1976, E. Bénézit
1820-1891 · Swiss
Last Days of Napoleon, or Napoleon à Ste. Helene
Bronze on rouge marble and wood base
Signed "V. VELA. F 1867" and "F. Barbadienne, Fondeur, Paris"; numbered 24
Bronze: 11 1/2" wide x 15 1/2" deep x 17" high
This highly evocative bronze sculpture by Vincenzo Vela captures the deposed emperor Napoleon on his deathbed, holding a map of Europe and lost in thought about "what might have been." Remarkable among most portraits of the exiled leader, this intriguing and highly detailed sculpture depicts Napoleon at his most vulnerable. Nonetheless, Vela perfectly captures Napoleon's still heroic bearing, which imparts to this composition a monumental quality and quiet dignity. The mate to this figure is the colossal marble at the Musée du Chteau de Malmaison. Shown at the Paris Salon of 1867, this marble caused a great sensation, and elicited much debate as to whether it was too Realist or too Romantic. Cast by the famed Barbadienne foundry, this bronze is truly a masterpiece of 19th-century.
Vela was one of the great exponents of realism in sculpture and the founder of the verismo movement in Italy. Born in Ligornetto in 1820, he studied under celebrated sculptor, Benedetto Cacciatori. He was also influenced both by the work of Tuscan sculptor Lorenzo Bartolini, who seamlessly combined neoclassicism with naturalistic qualities, and the romantic painting of Francesco Hayez. Vela soon became one of the most important promoters of realist and verist sculpture, which emphasizes true-to-life depictions of subjects. This was a reaction to the more idealistic, classical aesthetic espoused by artists such as Canova.
Vela taught at the Albertina Academy in Turin for many years and continued to sculpt, which garnered great success beginning in 1867, and showed his work at numerous Salons in Italy. He then moved to Ligornetto where he established his workshop, which he built as a home and museum. Vela placed great emphasis on the depiction of the social and heroic value of human action. A fervent patriot, he was also active both politically and culturally, and was elected to the Grand Counsel in Ticino. Today, Vela's works are preserved in the Museo Vela at Ligornetto. Others can be found in Lugano, Bellinzona, Airolo, as well as Milan and Turin. Vincenzo Vela died on the 3rd of October 1891.
Artist's Museums:
Museo Vela, Lignoretto, Switzerland
Versailles
National Museum, Rome
Simu Museum, Bucharest
Musée d'Orsay Collection Database, Paris
Réunion des Musées Nationaux, France
Courtauld Institute of Art, London, UK
Galleria Civica d'Arte Moderna e Contemporanea, Turin
Smart Museum of Art, University of Chicago
Reference:
Dictionaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, 1976, E. Bénézit
