In Spring 1990, Czechoslovak artist and cartoonist Vladimir Rencin sends this message that is was time to stop the flag-waving euphoria surrounding the revolution's victory and to get to the hard work of rebuilding the country. The caption reads: "It's high time for you to climb down and get to work! The garden is neglected, the latrine" (actually a Czech word for an open-air refuse pit) "is... 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 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 »
To those who considered Marat insincere and dangerous in his unrelenting populism, the true martyr was Charlotte Corday, who had come to Paris from Caen—a city then serving as a base for the federalist insurgency—apparently with the express intent of killing Marat. In this engraving by the English caricaturist Cruikshank, Corday is depicted as "A Second Joan of Arc," saving her country by... Read More »
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.
Not uncommonly, revolutionary prints invoked excretory humor directed toward those priests who would not swear allegiance to the Revolution. Revolutionaries eliminated on their enemies; the latter might also receive enemas. Of course, in a world of chamber pots everyone got the message loudly and clearly.
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 unicorn lies behind it. To the right, a multiheaded serpent representing France writhes around a broken flag reading "Anarchy."
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, yet energetic sans–culottes (on the left), who humiliate the British by defecating on the advancing troops. The British vainly try to respond with... Read More »
These images, all engraved and widely circulated years after the event, show four different moments of the arrest. Each successive image renders the scene increasingly dramatic. The first, a woodcut executed shortly after the event, shows the postman alone recognizing the King.