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Pressly places both paintings in their historical context—a time of heightened anti-French hysteria—and relates them to pictorial conventions: contemporary history painting, the depiction of urban mobs in satiric and festival imagery, and Hogarth's humorous presentation of modern moral subjects, all of which Zoffany adopted and reinvented for his own purposes. Pressly relates the paintings to Zoffany's status as a German-born Catholic living in Protestant England and to Zoffany's vision of revolutionary justice and the role played by the sansculottes, women, and blacks. He also examines the religious dimension in Zoffany's paintings, showing how they broke new ground by conveying Christian themes in a radically new format.
Art historians will find Pressly's book of immense value, as will cultural historians interested in religion, gender, and race.
|1||A Checkered Career||7|
|2||The Journee of August 10, 1792||16|
|3||A Modern Bacchanal: Plundering the King's Cellar at Paris||48|
|4||The Furies of Hell: Celebrating over the Bodies of the Swiss Soldiers||72|
|5||Thesis and Antithesis: An Antiheroic Art||105|
|App||Catalogue of Zoffany's Paintings of the French Revolution||155|