French Campaign, 1814 is one of the best-known artworks of Meissonier, and it is part of his Napoleonic cycle of paintings, with 1807, Friedland and The Morning of Castiglione (unfinished).

According to the art historian Constance Hungerford, Meissonier's work reflects the somber realities of Napoleon's final military campaign, emphasizing themes of loss, resilience, and patriotism.

[2]: 211  The painting captures the hard and gloomy moments of Napoleon’s retreat during the French Campaign of 1814, when the forces of the Sixth Coalition advanced into France.

[4]: 157  Napoleon’s grim expression conveys the heavy weight of his challenges, while his horse remains calm and noble, standing firm despite the harsh conditions.

[3]: 150  The art historian Constance Hungerford observes that this contrast between the weary man and the composed, powerful animal emphasizes Napoleon's humanity and vulnerability as a leader.

After their victory at Leipzig in 1813, the Allied forces of the Sixth Coalition invaded France, vastly outnumbering Napoleon’s depleted army.

Although Napoleon briefly returned to power during the Hundred Days in 1815, culminating in his defeat at Waterloo, the events of 1814 served as a poignant reminder of the limits of his once-unrivaled dominance.

According to art critic Duhousset, Meissonier was among the first to illustrate the appui diagonale gait, where diagonal pairs of a horse's legs move in unison with minimal knee flexion.

Some critics viewed the emotional weight of the work as overshadowed by its technical precision, leading to accusations that it lacked the sweeping drama expected of historical masterpieces.