Where Napoleon was once the conqueror, the world now avenges itself. This sense of reversal, felt widely outside of France, characterized a number of the caricatures of Napoleon, and indeed of the entire Revolution.
These painted engravings ridicule the unrest wrought by French revolutionaries by contrasting French subversion with British stability. The "British Liberty Tree" (depicted in the preceding image) is assigned to the mock Latin genus of "Stabilissimus," while the more sickly looking "Foreign Tree" in this image is put in the genus "Subitarius." Notice in the background of the latter, a... Read More »
A sarcastic treatment from England of French manners that contrasts the weakness of the old regime with revolutionary arrogance. The engraver also seems to be pointing toward two entirely different views of masculinity.
This 18th century painting by Mohammad Rizā Naw'ī depicts Sati, the practice whereby an elite Hindu widow would commit suicide through self-immolation upon the death of her husband. Sati was featured prominently in European depictions of Hinduism where it reinforced “exotic” stereotypes of South Asians, and was used as an excuse to justify British Imperialism. In reality, the practice was not... Read More »
This composition of the scene, in which a helpless Louis seems to be looking upward to heaven with his confessor, communicates humility. The executioners are relatively passive, leaving the King and confessor center stage. This reveals that in mortal death, the King had a chance to look better than his tormentors. Although this print was undoubtedly produced significantly after the fact,... Read More »
This print depicts the Third Estate—represented by the peasant at the rear of the chariot, the worker leading the horse, and the merchant driving—delivering to the National Assembly a petition listing "abuses" to be remedied.
This cartoon mocks the distinction between active and passive citizens. Many revolutionaries hated this difference, essentially dividing those with property from those without. The propertied (active) were the only ones who could participate in the political process.
Female revolutionary figures stood for all kinds of qualities and virtues, in this case, "Truth." Women figures appeared so prominently in paintings and engravings because French nouns for the qualities and virtues were usually feminine (Truth = La Vérité). In other words, paintings such as this one did not represent real women; they used allegorical figures to make a more abstract point.