The women in this image appear to be tempted to a life of prostitution. The female figure in the left foreground gestures toward the door but remains modestly attired. Once inside, the women are there for the pleasure of men and wear revealing or…
The Queen, never popular to begin with in France, also bore the brunt of popular anger in 1792, as seen in these images of the King, Queen, and elsewhere the entire royal family, as animals. One wonders if this dehumanization of the King and Queen…
Revolutionaries redesigned playing cards in order to eliminate references to royalty (kings, queens, jacks) and replace them with great men and abstract virtues.
In this extraordinary painting stands a formidable and powerful figure of liberty with her pike and cap. As the title of this work suggests, Liberty appears here as a warrior surveying the field of battle from a commanding height. Furthermore, the…
A similar emphasis on patriotic unity can be seen in Jean Renoir’s film, La Marseillaise (1938). The movie tells the story of France’s national anthem, composed by Rouget de Lisle as a way to rally the troops. The song, written for soldiers from…
This painting of the period by Gillaume Guillon Lethière shows the emotion caused by the prospect of loved ones departing for the army. Women had to part with their families in order to support the nation in its time of need. Notice the female statue…
In this engraving of the Festival of Reunion or Unity of 10 August 1793, a female statue of Nature in the form of the Egyptian goddess Isis represents the regeneration of the French people. It sits on the site of the Bastille prison, whose fall…
The women who arrived, though lightly armed, were no shrinking violets. They insisted that the royal family return to Paris where, in fact, they would find themselves under virtual house arrest.
Some months after the execution of her husband, Marie Antoinette found herself in the dock of the public prosecutor, Antoine Quentin Fouquier–Tinville. The intervention of the radical journalist Jacques–René Hébert had pushed her case to the top, and…
The second image, a color drawing by the popular English caricaturist James Gillray in 1805 during the Empire, takes a different view of the Directory, suggesting that it is a time of moral decadence and self–aggrandizement. It depicts Paul Barras,…
