The Coronation of Napoleon, c.1806/07 by Jacques-Louis David
Canvas Print - 12837-DJL

Location: Louvre Museum, Paris, France
Original Size: 621 × 979 cm

The Coronation of Napoleon by Jacques-Louis David (c.1806/07) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 32.3 × 51.2 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Giclée Canvas Print | $62.06 USD

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SKU:12837-DJL
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Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
32.3″ × 51.2″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 13.7 × 21.7 in print therefore arrives as 16 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 32.3 × 51.2 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Jacques-Louis David's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 621 × 979 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Louvre Museum, Paris, France. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Jacques-Louis David’s The Coronation of Napoleon is a monumental work that captures not just a moment, but an entire era with a mastery that blurs the line between painting and propaganda. David, ever the consummate court painter, has crafted an image that both glorifies and mythologizes Napoleon Bonaparte's rise to power.

At first glance, you’re struck by the sheer scale of the canvas—it’s enormous, almost overwhelming, just like Napoleon’s ambitions. The composition is dominated by the central act of Napoleon crowning his wife, Josephine, rather than himself, which is a clever deviation from tradition that underscores his control over his own narrative. The emperor, standing tall in imperial robes of deep red and gold, is the absolute focus, radiating authority and power. Around him, an array of historical figures, from Pope Pius VII to various members of the Bonaparte family, are frozen in poses of reverence and admiration.

The detailing is exquisite—David’s brushwork is meticulous, from the gleaming surfaces of the marble to the intricate folds of the velvet. But what truly sets this painting apart is the atmosphere; the grandiosity of the setting, the opulence, the almost palpable tension in the air, all hint at the political machinations behind the ceremony. This isn’t just a coronation; it’s a statement, a visual manifesto of power and legitimacy. David’s painting, like the man it depicts, is as much about what is seen as what is deliberately left unsaid.

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