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left to discover about the crowd in the French Revolution? Can
we contribute to the issues raised by Rudé, Soboul, and
Andrews over the last 30 years? Is the crowd a new topic for representation
in late eighteenth-century France, and if so, why is that important? |
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question
4 Warren
Roberts, 6-9-03, 9:54 AM |
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RE:
question 4 Jack Censer, 6-12-03, 4:46 PM |
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what
can we learn about the crowd Lynn Hunt, 6-23-03, 11:04
PM |
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RE:
what can we learn about the crowd Barbara Day-Hickman,
7-15-2003,
12:58 PM |
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RE:
what can we learn about the crowd Jack Censer, 7-17-2003,
10:18 AM |
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Response
to Jack Warren Roberts,
7-21-03, 8:03 AM |
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Responses
to Barbara Warren Roberts,
7-19-03, 10:31 AM |
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RE: Response to Warren
and Final Remarks Barbara Day-Hickman,
7-25-03, 1:14 PM
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Response
to Barbara Warren
Roberts, 7-28-03, 10:33 AM |
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| Subject: |
Responses to
Warren and Final Remarks |
| Posted
By: |
Barbara Day-Hickman |
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| Date
Posted: |
7-25-03, 1:14
PM |
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May I make one final riposte to Warren regarding his
comments about the relationship between Prieur’s “Hanging
of Foulon” and the “Bertier de Sauvigny” engraving.
While Prieur may have constructed an intentional contrast
by using a “distanced” perspective in the
former, and a more gruesome “directness” in
the latter, the formality of the visual narrative in
both prints still disengages the viewer from the horror
of the recognition scene. The “Bertier” print,
in particular, describes a relatively orderly procession,
much like the classical relief of a temple frieze.
It would thus seem to emphasize the ritualistic rather
than macabre nature of the event. Furthermore, Christian
statues in the background of the Bertier scene plus
the gothic vertical lines on the church wall suggest
the sacrificial implications of the narrative. The
juxtaposition of the head of Foulon and the Christian
statues may not necessarily register an ironic contrast
but rather some sort of religious endorsement of the
event. In other words, the backdrop of Saint-Merry
could legitimize the sacrifice of Foulon and Bertier
as an expression of the righteous indignation of the
crowd. Prieur reinforces this idea by showing a purposeful
crowd moving in one direction across the middle ground
of the print. He also softens the impact of crowd violence
by including (male) children who endeavor to emulate
the bravado and prowess of the soldiers and citizens
in the foreground. Consequently, despite the magnification
of the “Bertier” narrative, Prieur nevertheless
reduces the impact of crowd violence through the elegance
of his style, the orderliness of the narrative, and
the classical format of his “convoi funèbre.” I
would therefore agree with Lynn that accomplished and
pro-revolutionary artists, such as Prieur, muted the
threatening nature of crowd violence with both style
and intention. |
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