Visual Culture and the Revolutionary and Napoleonic Wars

Satish Padiyar is Senior Lecturer in Nineteenth-Century European Art at The Courtauld Institute of Art. He is author of Chains: David, Canova and the Fall of the Public Hero in Postrevolutionary France (2007) and editor of Modernist Games: Cézanne and His Card Players (2013). He is currently preparing a monograph on Jean-Honoré Fragonard.Philip Shaw is Professor of Romantic Studies at the University of Leicester. He is author of Waterloo and the Romantic Imagination (2002), The Sublime (2006) and Suffering and Sentiment in Romantic Military Art (2013), and editor of Romantic Wars: Studies in Culture and Conflict, 1793-1822 (2000). He has written essays on military art in the Romantic period for Soldiering in Britain and Ireland, 1750-1850: Men of Arms (2013) and Tracing War in British Enlightenment and Romantic Culture (2015).Philippa Simpson is Client Project Manager at the Victoria and Albert Museum. She was co-curator and catalogue author of Turner and the Masters (Tate Britain, Musée du Louvre, Museo del Prado) and Blake and British Visionary Art (Pushkin Museum) and has contributed essays to Turner Inspired: In the Light of Claude (2012), Blake 2.0: William Blake in Twentieth-Century, Art, Music and Culture (2012) and Sexy Blake (2013).

• Introduction. Contested Views: the Image in the First Total War Satish Padiyar, Philip Shaw, Philippa SimpsonPart One: Cultures of Participation The Territorial Imaginary of the Revolutionary and Napoleonic WarsKatie Hornstein Beholder, Beheaded: Theatrics of the Guillotine and the Spectacle of RuptureStephanie O’Rourke Smuggled Silhouettes: Opacity and Transparency as Visual Strategies for Negotiating Royal Sovereignty During the Revolutionary and Napoleonic WarsAllison Goudie Wargaming: Visualizing Conflict in French Printed BoardgamesRichard Taws Battle Lines: Drawing, Lithography and the Casualties of WarSue WalkerPart Two: War and the Image From the Nore: Turner at the Mouth of the ThamesRichard Johns Ghosts and Heroes: Girodet and the Ossianic Mode in Post-Revolutionary French ArtEmma Barker King Ferdinand’s Veto: Goya’s 2nd and 3rd May 1808 as Patriotic FailuresSimon Lee "the most atrocious [acts] one may imagine": The So-called Series of the French Invasions and Anti-French Propaganda During the Peninsular WarFoteini Vlachou The Comic View of Johnny Newcome’s Military Adventures Neil RamseyPart Three: Cultures of Commemoration Reality Effects: War, Theatre and Re-enactment Around 1800Gillian Russell Ephemeral Histories: Social Commemoration of the Revolutionary and Napoleonic Wars in the Paper Collections of Sarah Sophia BanksArlene Leis Exhibiting the Nation’s Navy: The Foundation of the "National Gallery of Naval Art," 1795- 1845Cicely Robinson Picturing the Battlefield of Victory: Document, Drama, ImageSusan L. Siegfried

"Importantly, the book is supported by a generous number of illustrations (including some fullpage), which will prove useful in the classroom. While it is often all too easy to rely on Googleto help us reconstruct the visual worlds of the past, Visual Culture and the Revolutionary andNapoleonic Wars reminds us how much remarkable material is still sitting neglected in thearchives. Flaming cardboard globes, board games, and exhibition tickets are the types of sourcesthat, until recently, might have been relegated to the footnotes or overlooked altogether, but asthis volume proves, they are crucial for introducing us to the many, and often contested ways inwhich those who lived through the revolutionary and Napoleonic periods imagined andinterpreted their changing worlds. " - Gemma Betros, The Australian National University (H-France Review)