Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 41 works by Andrea Appiani in our catalogue
In short
Of all the originals Andrea Appiani left, the most famous is Napoleon, First King of Italy, in the collection of the Musée Napoléonien, Aix-en-Provence. Close behind it come Head of Laocoon (1790) and Head of Laocoon (1790). Our catalog holds 41 works by Andrea Appiani; the gallery has kept the 40 the world admires most, each shown with its date, its museum and its story.
The oil on canvas work titled Napoleon, First King of Italy was executed by the artist Andrea Appiani. This portrait depicts Napoleon Bonaparte in his capacity as the First King of Italy. The painting was created around 1805.
Andrea Appiani’s Head of Laocoon, created about 1790, focuses on the expressive head of an elderly man, likely the mythological Laocoon. The composition utilizes a tight close-up, positioning the subject in a direct, intimate view that brings the viewer into immediate proximity with the figure's suffering. This proximity emphasizes the furrowed brow and the pained expression held within the eyes. The subject's face is set against a dark, indistinct background,…
In this intimate portrait study, titled Head of Laocoon, the artist Andrea Appiani turns his attention to a moment of profound human suffering. Created about 1790, the work focuses on the intense emotionality of the classical figure Laocoön. Rather than a grand narrative, we are presented with a concentrated study of a face caught in a state of acute agony.
A young man sits in a three-quarter view, his gaze drifting slightly toward the viewer with a calm, contemplative expression. He is a figure of stillness, caught in a moment of pause. The deep black of his coat absorbs the light, creating a sharp contrast against the pale, smooth tones of his skin. A white shirt collar cuts a crisp line across his neck, a bright punctuation in a composition…
The Baptism of Christ by Andrea Appiani presents an expansive and crowded scene centered on a religious and ceremonial event. The composition utilizes a multi-layered arrangement of figures to organize the biblical narrative. At the heart of the work, Jesus Christ stands in the water being baptized by John the Baptist. This central focus is immediately surrounded by a dense crowd of onlookers, creating a sense of scale and movement…
The canvas captures a young woman, Ms. Hamelin, in a moment of quietude. She is positioned in a three-quarter view, her body angled slightly away while her gaze drifts toward the right, as if caught by a passing thought. Her dark, voluminous hair falls in tight, sculpted curls around a face of pale, luminous skin. A creamy white garment covers her shoulders, edged with a delicate band of red and…
In this work, titled Apollo and Daphne, Andrea Appiani captures a singular, frantic moment of mythological transition. Created about 1797, the painting focuses on the precise instant where the nymph Daphne begins her metamorphosis to escape the pursuit of the god Apollo. There is a palpable tension held within the figures, a struggle between the physical drive of the chase and the sudden, supernatural change of her very nature.
In the heart of the Neoclassical era, few works capture the intersection of political triumph and divine myth as profoundly as Andrea Appiani’s Allegory on the Peace of Pressburg. Completed in 1808, this monumental masterpiece serves as more than a mere historical record; it is a breathtaking theatrical performance rendered in oil. The painting commemorates the Treaty of Pressburg, a pivotal moment that solidified Napoleon Bonaparte's dominion over Lombardy and…
In "Two Children of the Artist" by Andrea Appiani, the Neoclassical gaze settles upon a close-up, centered arrangement of two figures. A slightly older child embraces a younger one, pulling the viewer into an intimate, familial circle. The girl wears a white, high-waisted Empire-style gown with puffed sleeves that catch the light. Beneath her protective hold, the younger child is dressed in a light-colored jacket layered over a yellow waistcoat.…
This work is a Self-portrait by the Italian Neoclassical painter Andrea Appiani. Created about 1790, the piece offers a quiet moment of introspection from the artist himself. It captures the subject in a three-quarter view, presenting a sense of psychological depth through a somber and contemplative expression.
Jupiter and Mercury at Philemon and Baucis, oil on canvas
12
General Desaix1800 · Château de Versailles
13
Apollo and Daphne1794
14
Portrait of Napoleon Bonaparte (1769-1821), as a General of the Army of the RevolutionNational Gallery of Ireland
15
The Death of AdonisPinacoteca di Brera
16
Portrait of Achille Fontanelli
17
Portrait of Vincenzo Monti
18
LOUIS CHARLES ANTOINE DESAIX, GENERAL DE DIVISION (1768 1800)
19
Il generale Bonaparte e il genio della Vittoria, peinture d'Andrea Appiani (1796)
20
Portrait du Prince Eugène de Beauharnais, vice roi d'Italie
21
LAURE DE GUESNON DE BONNEUIL, MADAME REGNAULT DE SAINT JEAN D'ANGELY (1776 1856)
22
Napoleon Bonaparte at the Battle of Lodi (May 10, 1796)Galleria d'Arte Moderna
23
Psyche Worshipped as the Personification of BeautyFondazione Cariplo
24
Psyche Asking Proserpine for Her Box of BeautyFondazione Cariplo
25
Portrait of Ugo FoscoloPinacoteca di Brera
26
The Wrath of Mars Checked by VenusPinacoteca di Brera
27
The Diversions of Venus and MarsPinacoteca di Brera
28
Portrait of Kazimierz Rzewuski.
29
Venus Fastens the Girdle for Juno
30
Ritratto di Giulia Beccaria e suo figlio Alessandro Manzoni bambino
31
Juno Dressed by the GracesMusei Civici d'Arte e Storia
32
Portrait de l'Impératrice Joséphine (1763-1814), en costume de Reine d'Italie
33
Bonaparte à Milan
34
Portrait de Nicolas, comte Frochot, ou, Portrait de Pierre Etienne, comte MejanBirmingham Museum and Art Gallery
35
Parnassus
36
Vicerè d'Italia sotto Napoleone Bonaparte.
37
Portrait of Joséphine de Beauharnais
38
The OlympusPinacoteca di Brera
39
Portrait of the set-designer\nPaolo Landriani (1755-1839)Teatro Alla Scala
40
Giambattista Bodoni1799 · Galleria Nazionale
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Andrea Appiani | Paintings from this list |
|---|---|---|---|
 Pinacoteca di Brera |
Milan | 7 | Apollo and Daphne, Self-portrait, The Death of Adonis |
 Indianapolis Museum of Art |
Indianapolis | 2 | Head of Laocoon, Head of Laocoon |
 Fondazione Cariplo |
Milan | 2 | Psyche Worshipped as the Personification of Beauty, Psyche Asking Proserpine for Her Box of Beauty |
 Musée Napoléonien |
Aix-en-Provence | 1 | Napoleon, First King of Italy |
 Cleveland Museum of Art |
Cleveland | 1 | Portrait of a Musician |
 Walters Art Museum |
Baltimore | 1 | The Baptism of Christ |
 Carnavalet Museum |
Paris | 1 | Ms. Hamelin, born Jeanne Geneviève Fortunée Lormier-Lagrave |
 Pushkin State Museum |
Moscow | 1 | Allegory on the Peace of Pressburg |
From 1790 to 1808, Andrea Appiani worked for 19 years: the selection follows that long career year by year, through its finest originals.
Pick a year to see its originals.
Andrea Appiani’s Head of Laocoon, created about 1790, focuses on the expressive head of an elderly man, likely the mythological Laocoon. The composition utilizes a tight close-up, positioning the subject in a direct, intimate view that brings the viewer into immediate proximity with the figure's suffering. This proximity emphasizes the furrowed brow and the pained expression held within the eyes. The subject's face is set against a dark, indistinct background,…
More from 1790
In this work, titled Apollo and Daphne, Andrea Appiani captures a singular, frantic moment of mythological transition. Created about 1797, the painting focuses on the precise instant where the nymph Daphne begins her metamorphosis to escape the pursuit of the god Apollo. There is a palpable tension held within the figures, a struggle between the physical drive of the chase and the sudden, supernatural change of her very nature.
The canvas captures a young woman, Ms. Hamelin, in a moment of quietude. She is positioned in a three-quarter view, her body angled slightly away while her gaze drifts toward the right, as if caught by a passing thought. Her dark, voluminous hair falls in tight, sculpted curls around a face of pale, luminous skin. A creamy white garment covers her shoulders, edged with a delicate band of red and…
A young man sits in a three-quarter view, his gaze drifting slightly toward the viewer with a calm, contemplative expression. He is a figure of stillness, caught in a moment of pause. The deep black of his coat absorbs the light, creating a sharp contrast against the pale, smooth tones of his skin. A white shirt collar cuts a crisp line across his neck, a bright punctuation in a composition…
More from 1800
In the heart of the Neoclassical era, few works capture the intersection of political triumph and divine myth as profoundly as Andrea Appiani’s Allegory on the Peace of Pressburg. Completed in 1808, this monumental masterpiece serves as more than a mere historical record; it is a breathtaking theatrical performance rendered in oil. The painting commemorates the Treaty of Pressburg, a pivotal moment that solidified Napoleon Bonaparte's dominion over Lombardy and…
More from 1808
Napoleon, First King of Italy, Musée Napoléonien, Aix-en-Provence. Head of Laocoon (1790) and Head of Laocoon (1790) come next.
Napoleon, First King of Italy, Head of Laocoon, Head of Laocoon, Portrait of a Musician, The Baptism of Christ, Ms. Hamelin, born Jeanne Geneviève Fortunée Lormier-Lagrave, Apollo and Daphne, Allegory on the Peace of Pressburg, Two Children of the Artist and Self-portrait. The ranking above gives each one's year and museum.
Our catalog holds 41 works by Andrea Appiani, dated from 1790 to 1808.
Mostly in Pinacoteca di Brera (Milan), Indianapolis Museum of Art (Indianapolis) and Fondazione Cariplo (Milan). The museum table above lists them all.
In 1790: 3 of the 40 works on this page were made then, Head of Laocoon among them.
On this page, the earliest is Head of Laocoon (1790) and the latest Allegory on the Peace of Pressburg (1808).
Man (6), Portraits (5) and Napoleon (4), across the 40 works on this page.
Oil On Canvas, for 9 of the 40 works on this page.
Neoclassicism, judging by the originals on this page.
Apollo and Daphne, Self-portrait and The Death of Adonis: the Pinacoteca di Brera, Milan holds 7 of the works on this page.
Born in Milan in 1754, Andrea Appiani emerged as a pivotal figure in the Italian Neoclassical art scene during the late 18th and early 19th centuries. Initially destined for a medical career following his father’s profession, Appiani’s artistic inclinations led him to study under Carlo Maria Giudici at a private academy, laying the foundation for his future endeavors. His training further encompassed the tutelage of Antonio de' Giorgi at the Ambrosiana picture gallery and Martin Knoller, deepening his understanding of oil painting techniques. This diverse educational background, coupled with his fascination with classical aesthetics fostered by the poet Giuseppe Parini, shaped Appiani’s artistic vision and propelled him to become a celebrated painter known for his elegant portraits, monumental frescoes, and commissions from prominent figures like Napoleon Bonaparte.
Appiani's early career was marked by a dedication to mastering various techniques. He began with the fresco of Saints Gervasio and Protasio in 1776, followed by altar pieces such as those for the collegiate church of Santa Maria Nascente at Arona (1782) and the Nativity for the Ospedale Maggiore in Milan (1784). His architectural designs for the high altar of Duomo di Monza (1786-1798) showcased his burgeoning talent, while stage design work in Florence during 1783-1784 demonstrated his versatility. His anatomical studies at the Ospedale Maggiore, alongside sculptor Gaetano Monti, provided a crucial understanding of human form – an element that would later inform his remarkably lifelike portraits and dynamic compositions.
The French occupation of Milan during the 1790s proved to be a transformative period for Appiani. He quickly gained favor with Napoleon Bonaparte, becoming a court painter and receiving commissions that significantly elevated his status. During this time, he produced numerous portraits of the Emperor and other key figures in his regime, including the iconic “Napoleon at Lodi” (a work now lost but documented), alongside elegant depictions like "Venus and Love" and "Rinaldo in the Garden of Armida." His artistic skills were also utilized for official purposes – designing medals and preparing visual materials for governmental announcements. This period witnessed a surge in his productivity, reflecting both his personal ambition and the patronage he received.
Appiani’s most ambitious projects during this era included the elaborate frescoes within the Rotonda of the Royal Villa of Monza (1789-1790), inspired by Raphael's work at the Villa Farnesina in Rome, and the grand cycle depicting the myths of Apollo at the Casa Sannazzaro in Milan (1795-1796). These frescoes established him as a leading figure in Neoclassical decoration, showcasing his mastery of perspective, color, and narrative composition. The “Parnassus,” representing Apollo and the Muses, on the ceiling of the Royal Villa’s dining room, remains a particularly celebrated example of his artistic skill.
Appiani's legacy is firmly rooted in his monumental frescoes. The cycle depicting the four Evangelists and Doctors of the Church for the cupola and pendentives of Santa Maria presso San Celso (1795) stands as a testament to his technical prowess and narrative ability. Similarly, the fresco “The Parnassus” within the Royal Villa’s dining room is considered one of his masterpieces, capturing the essence of classical mythology with remarkable detail and dynamism. His work in the Royal Palace of Milan – allegories of virtues honoring Napoleon and depictions of historical events – further solidified his reputation as a court painter of exceptional skill.
Beyond these grand commissions, Appiani’s artistic endeavors extended to smaller, yet equally significant works. His portrait of Giulia Beccaria and her son Alessandro Manzoni bambino (1790) is a poignant example of his ability to capture human emotion and familial bonds. The “Encounter of Rachel and Jacob” for a church in Alzano (painted around 1798), now housed in the Brera, demonstrates his command of composition and dramatic storytelling. His work also included designing decorative elements for theaters and private residences, showcasing his versatility as an artist.
Despite his success during the Napoleonic era, Appiani’s fortunes declined dramatically after the fall of Napoleon in 1814. His allowance from the Kingdom of Italy was revoked, plunging him into poverty. This period marked a significant setback for the artist, who had dedicated much of his life to serving the imperial court. However, Appiani continued to paint, producing portraits and smaller works, though without the same level of recognition or financial support.
Andrea Appiani’s artistic legacy extends beyond his individual masterpieces. He is often distinguished from his great-nephew, Andrea Appiani (a historical painter in Rome), by the title “the elder.” His work continues to be studied and admired for its elegance, technical skill, and embodiment of Neoclassical ideals. The Brera Gallery in Milan houses a significant collection of his paintings, including the "Olympus" fresco, offering visitors a glimpse into the life and art of this remarkable Italian painter. His influence can still be seen in the works of subsequent generations of artists who followed in his footsteps.
