Object History
This large bronze equestrian group of the Emperor Napoleon astride his famous mount Morengo is a reduction of the monumental statue by the Comte de Nieuwerkerke (1811-1892) commissioned for the town of Lyon in 1850. One of the most iconic representations of Napoleon, it successfully captured the essence of the legendary leader, embodying his indomitable spirit and military prowess. The monumental version stood at nearly four and half meters high. Cast by MM. Eck and Durand it was inaugurated in the sculptor’s presence by the Louis-Napoléon Bonaparte (Napoleon III) on 20 September 1852 on the largest square on the Perrache peninsula (now place Carnot) in Lyon.
Writing in the ‘Revue Des Beaux Art’s in 1852 the critic A. Galimard (1813-1880) devoted two pages in praise of the sculptural group noting:
‘On s’occupe beaucoup dans le monde des arts de la statue équestre de l’empereur Napoléon , commandée à M. le comte de Nieuwerkerke par la ville de Lyon. La noblesse du sujet et la célébrité de l’artiste auquel cette difficile tache a éçé confiée , devait, ajuste titre , exciter la curiosité et les sympathies publiques.’
Praising Nieuwerkerke’s meticulous rendering of the subject and its composition, Galimard noted how some modern sculptors in an equivocal way had been known to sacrifice the man for the depiction of the horse. However, Nieuwerkerke’s sculpture subordinated the horse to the Emperor in such a way as to preserve the artistic truth and beauty for both horse and rider.
‘Quelques statuaires modernes n’avaient su allier l’homme au cheval, qu’à la triste condition de sacrifier le cavalier à sa monture; et ce parti pris a malheureusement doté nos places publiques de productions d’un goût équivoque. Mais tout en subordonnant le cheval de l’Empereur à l’Empereur lui-même, ce statuaire a su conserver au coursier du grand capitaine la vérité et la beauté dans l’art.’
In summary Galimard grandly concludes that in sculptural form it compares to the famous eulogies of the great men of the ancient world by authors such as Plutarch and Tacitus.
‘Historien avec le ciseau comme d’autres le furent avec la plume , M, le comte de Nieuwerkerke a fixé dans le bronze l’épopée impériale avec l’éloquente simplicité dont PIutarque et Tacite nous ont laissé d’impérissables modelés dans l’éloge de leurs grands hommes.’
The grand original bronze of ‘L’Empereur Napoléon Ier à cheval’ in Lyon was destroyed between November 1870 and February 1871. The only surviving full size version is a repetition with minor variations, inaugurated on 20 August 1854 at the centre of ‘place Napoléon’ in La Roche-Sur-Yon.
Having received such universal praise and popularity Nieuwerkerke’s seminal sculpture of Napoleon on Horseback was cast in reduction by the Susse Frères foundry as recorded in their sales catalogues in 1860 and 1875 offered in five sizes, the present size titled ‘1re Grandeur’ being the largest. Nieuwerkerke choosing to instruct Susse Frères to cast his sculpture in bronze is a practice evidenced by his being recorded to have entered into edition contracts with Susse Frères in 1838, for his group of fighting horseman, and in 1843, for his equestrian statue of William of Orange. Bronze reductions, produced as part of the edition, would be made according to demand. Examples of Napoleon on Horseback in this, the largest size, are very rare. The only known comparative reduction by Susse Frères is in the collection of the château de Compiègne. Indeed, Emperor Napoleon III’s Royal Warrant was issued to Susse Frères in 1854 and the imperial family went on to spend considerable sums with the foundry. Patronage was no doubt accredited by Nieuwerkerke’s role as Intendent of the Beaux-Arts of the Household of His Majesty.
Beyond its artistic significance, the statue symbolises the resilience of France, honouring a leader whose legacy continues to shape the nation’s identity.
