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?Marengo?, the favourite charger of Napoleon I, 1815
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?Marengo?, the favourite charger of Napoleon I, 1815
?Marengo?, the favourite charger of Napoleon I, 1815 (c). Soft-ground etching, by and after James Ward, published by R Ackermann, Strand, London, 1 August 1824. With a flowing mane and tail and highly defined muscles, standing by a lake in an empty landscape lit by a setting sun (symbolising Napoleon?s fall from power). The original painting was painted for the Duke of Northumberland. It was exhibited at the Royal Academy, No. 219, in 1826. It is currently in the collection of the Duke of Northumberland at Alnwick Castle (see Courtauld Institute Photographic Survey April 1998). Date: circa 1860
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Media ID 14402398
© The National Army Museum / Mary Evans Picture Library
1815 1824 Ackermann Charger Defined Empty Etching Favourite Flowing Highly Mane Marengo Muscles Napoleon Soft Strand Tail Ward
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EDITORS COMMENTS
Marengo," the beloved charger of Napoleon I, is depicted in this stunning soft-ground etching, created by James Ward and published by R. Ackermann in London in 1824. The image captures Marengo's flowing mane and tail, as well as his highly defined muscles, in exquisite detail. The horse stands proudly by a tranquil lake in an empty landscape, with the setting sun casting a warm, golden glow over the scene. This etching is a reproduction of an original painting that was created circa 1815, and was later exhibited at the Royal Academy in 1826. The painting was originally commissioned by the Duke of Northumberland, and is now part of the esteemed collection at Alnwick Castle. Marengo was Napoleon's favorite horse, and the two shared a storied history together. The horse was said to have carried Napoleon to victory in the Battle of Marengo in 1800, and remained a loyal companion to the French emperor throughout his military campaigns. However, the sun setting in this image may symbolize the end of Napoleon's power and reign, as he was exiled to the island of Elba in 1814 and later escaped and regained power for a brief time before being defeated at the Battle of Waterloo in 1815. Despite the historical significance of the subject matter, the etching itself is a work of art in its own right, showcasing the skill and artistry of James Ward and the publishing prowess of R. Ackermann.
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