In this first study of art, law, and the legislator, Jonathan Ribner provides a revealing look at French art from 1789 to 1848, the period in which constitutional law was established in France. Drawing on several disciplines, he discusses how each of the early constitutional regimes in France used imagery suggesting the divine origin and sacred character of its laws. Primarily a study of art and politics, Broken Tablets discusses painting, sculpture, prints, and medals (many reproduced here for the first time), as well as contemporary literature, including the poetry of Alfred de Vigny, Alphonse de Lamartine, and Victor Hugo. Ribner assesses the ways in which legislation imagery became an instrument of political propaganda, and he clearly illuminates the cult of the law as it became personalized under Napoleon, monarchist under the Restoration, and defensive under Louis-Phillipe.
An interdisciplinary examination of nineteenth-century French art pertaining to religion, exile, and the nation’s demise as a world power, this study concerns the consequences for visual culture of a series of national crises—from the assault on Catholicism and the flight of émigrés during the Revolution of 1789, to the collapse of the Empire and the dashing of hope raised by the Revolution of 1830. The central claim is that imaginative response to these politically charged experiences of loss constitutes a major shaping force in French Romantic art, and that pursuit of this theme in light of parallel developments in literature and political debate reveals a pattern of disenchantment transmuted into cultural capital. Focusing on imagery that spoke to loss through visual and verbal idioms particular to France in the aftermath of the Revolution and Empire, the book illuminates canonical works by major figures such as Eugène Delacroix, Théodore Chassériau, and Camille Corot, as well as long-forgotten images freighted with significance for nineteenth-century viewers. A study in national bereavement—an urgent theme in the present moment—the book provides a new lens through which to view the coincidence of imagination and strife at the heart of French Romanticism. The book will be of interest to scholars working in art history, French literature, French history, French politics, and religious studies.
In this first study of art, law, and the legislator, Jonathan Ribner provides a revealing look at French art from 1789 to 1848, the period in which constitutional law was established in France. Drawing on several disciplines, he discusses how each of the early constitutional regimes in France used imagery suggesting the divine origin and sacred character of its laws. Primarily a study of art and politics, Broken Tablets discusses painting, sculpture, prints, and medals (many reproduced here for the first time), as well as contemporary literature, including the poetry of Alfred de Vigny, Alphonse de Lamartine, and Victor Hugo. Ribner assesses the ways in which legislation imagery became an instrument of political propaganda, and he clearly illuminates the cult of the law as it became personalized under Napoleon, monarchist under the Restoration, and defensive under Louis-Phillipe.
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