By Valerie Mainz
This ebook examines more than a few visible photos of army recruitment to discover altering notions of glory, or of gloire, during the French Revolution. It increases questions about how this occasion re-orientated notions of ‘citizenship’ and of carrier to ‘la Patrie’. the hole strains of the Marseillaise are grandly declamatory: Allons enfants de los angeles Patrie/le jour de gloire est arrivé! or, in English: Arise, young ones of the Homeland/The day of glory has arrived! What do those phrases suggest of their later eighteenth-century French context? What was once gloire and the way was once it replaced via the innovative strategy? This army track, later followed because the nationwide anthem, represents a deceptively unifying second of collective engagement within the making of the fashionable French state. Valerie Mainz questions this via an in depth learn of visible imagery facing the difficulty of army recruitment. From neoclassical portray to well known prints, such pictures ordinarily handled the shift from civilian to soldier, concentrating on how males, and never girls, have been known as to serve the Homeland.
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Extra info for Days of Glory?: Imaging Military Recruitment and the French Revolution
23. 24. 25. 26. 27. 25 the Bastille whilst the boy soldier beats a drum and the girl appears to celebrate losing her virtue by holding aloft a laurel wreath and her own white flag of surrender. L. Siegfried (1995) The Art of Louis-Léopold Boilly: Modern Life in Napoleonic France (London and New Haven: Yale University Press), pp. 5–8; see also P. 271–87. In discussing the intermingling of the decent with the indecent in book illustration, Stewart notes the frequent use of the lapdog as suggestive surrogate.
57. 140–2. 58. Stolpe, Klassizismus und Krieg, p. 184: ‘Die Hervorkehrung weiblicher Schwäche und weiblichen Sich-Gehenlassens ist eine Mahnung, die (insbesondere) an die entsprechende Hälfte des Salonpublikums ergeht: niemals die eigene Würde zu vergessen und sich die Gefährdung durch Passionen INTRODUCTION 29 einzugestehen; und darüber hinaus ist dies ein Appell, sich auch der Fähigkeit zur Vervollkommnung bewusst zu sein. ’ 59. Duncan (1973) ‘Happy Mothers and Other New Ideas in French Art’, The Art Bulletin, 55/4, 570–83.
42. Selznick Gone with the Wind (1939, Metro Goldwyn Mayer) begin with the great set pieces of the white young scion of the South being called to arms and away while the womenfolk stay at home and the black slaves continue to labour the land. 43. McCormack (2013) ‘Defining Soldiers: Britain’s Military, c. 1740–1815’, War in History, 20, 144–59. 28 V. MAINZ 44. T. 642–3. 45. J. Madival and E. 674–5. 46. Siegfried (1993) ‘Naked History: The Rhetoric of Military Painting in Postrevolutionary France’, The Art Bulletin, 75/2, 235–58.