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…
Similar to the two engravings of trees, this engraving contrasts English order with French anarchy. On the left, a lion (representing England) sits at the foot of a chiseled rock, part of which is labeled "Unanimity." A crown appears over the rock; a…
In this rendition of an incident from the Vendée rebellion, an ordinary woman is shown standing up to the rebels. It comes from a series of heroic images of the Revolution and shows that women could be heroines for the Republic.
The guillotine was first introduced as a humane, efficient, and above all modern form of execution in April 1792; during the radical phase of the Republic, it would become the symbol of the Terror. This engraving suggests the guillotine is providing…
This color drawing, produced in 1793 at the request of the Committee of Public Safety and then published as an engraving, caricatures the British army and its king, George III, as incompetent, who, despite fine uniforms, cannot defeat shoddily clad,…
An arrested Corday is hustled out of the door, while the inquest begins. The expired Marat, ghastly pale, looks much more realistic than in the David rendition of his death. Also, the bath in the shape of a boot, which differs from most images, is…
Long after sans–culotte influence on the government had waned, social conflicts continued to drive some revolutionary events. Throughout 1794 and 1795, urban and rural radicals alike demanded "bread and the constitution of 1793," meaning that the…
The term "bourgeoisie" had many meanings in eighteenth–century France, from the most literal sense of "citizens of a city" to a more sociological meaning of talented and cultivated members of the Third Estate. Some eighteenth–century writers also…
This color drawing from 1798 mocks both the French navy’s abysmal performance against Nelson’s fleet and the French hope to invade England; in the style of Gillray, it depicts a grotesque, gargantuan woman, straddling the English Channel and…
These painted engravings ridicule the unrest wrought by French revolutionaries by contrasting French subversion with British stability. The "British Liberty Tree" in this image is assigned to the mock Latin genus of "Stabilissimus," while the more…
