Marie-Annunciade-Caroline Bonaparte, Queen of Naples and her children

Created in 1801 by François Gérard, the painting depicts Marie-Annunciade-Caroline Bonaparte and her children. The work currently held at the Palace of Versailles is a reduction of an original composition that was part of the Spoletti Trivelli collection in Rome. This smaller version, identified by inventory numbers MV 4859, INV 4796, and LP 3079, was produced as a related work to the primary portrait.

The piece was subsequently reproduced in an engraving dated 1852. It is now housed in the Museum of the History of France at Versailles.

The painting is held at the Palace of Versailles, specifically within the Museum of the History of France. Its museum identification includes the inventory numbers MV 4859, INV 4796, and LP 3079. This work is a reduction of an original portrait that was formerly part of the Spoletti Trivelli collection in Rome.

The current version in the Versailles collection was created in 1801, and the piece was later reproduced in an engraving dated 1852.

The painting is part of the Versailles national collections, held in the Musée national des châteaux de Versailles et de Trianon. A reduced version was reproduced as an engraving dated 1852, showing its continued circulation. The work portrays Caroline Bonaparte with her children, a subject that has persisted in the museum’s holdings and in reproductive prints. The Joconde database entry for the work was last updated in December 2022, reflecting ongoing documentation.

Created in 1801, this oil-on-canvas portrait presents Caroline Bonaparte, sister of Napoleon and queen consort of Naples, seated with her two young children. The composition places the family on a red sofa against a muted backdrop, highlighting both regal status and maternal intimacy. The work resides in the collection of the Palace of Versailles.

At the turn of the century, portraiture served to legitimize new dynasties, and Gérard’s depiction of Caroline aligns with this political function. The neoclassical aesthetic, favored by the Empire, reinforced ideals of order and virtue, while the inclusion of children softened the image of power, reflecting contemporary expectations of royal femininity.