How Did Napoleon Bonaparte Use Art to Solidify His Power in France

During his rise to power and throughout his reign, Napoleon not only benefitted from circumstance but also cultivated his ain image through the utilise of propaganda. Napoleon excelled at garnering public support and capitalizing on his victories to convey a persona associated with success and heroism.^[1] He utilized propaganda in a broad range of media including theater, fine art, newspapers and bulletins to "promote the precise image he desired."^[2] Napoleon's bulletins from the battlefield were published in newspapers and were well read throughout the country.^[iii] He used these publications to exaggerate his victories and spread his glorified interpretation of these successes throughout French republic.^[1]

Medallions [edit]

In add-on to more standard methods of propaganda, such as the press, Napoleon capitalized on the popularity of medallions for his ain purposes. Specifically, Napoleon used medallions equally tools to promote his desired image both before and after he became Emperor. In the end, he deputed more than medals than Louis 15 and Louis Sixteen combined.^[four] Of particular importance was Napoleon'south first set up of medallions, the "Five Battles" Series, produced to commemorate his victories during the first Italian entrada.

Five Battles Series [edit]

The Millesimo-Dego medallion features Hercules holding a gild and the Hydra of Lerna'due south head. In the other hand Hercules is holding a torch of blazing fire, fix to slaughter this creature. Around the borders of the medals reads "Bataille De Millesimo Combat de Dego."^[5] The Hercules effigy on these coins represents victory but was also a symbol chosen past the French Democracy to represent the nation, thereby connecting Napoleon to both triumph and France.^{[half dozen]}

The Po-Adda-Mincio medal depicts Napoleon Bonaparte leading his soldiers across the Adda on the bridge at Lodi.^[7] This medallion glorifies the battle in which most of Lombardy, an Italian province, was captured by the French army. Subsequently, Napoleon was named General-in-primary at Milan, the Lombard capital.^[eight] The coin celebrates not but Napoleon'south victory just his ascent to greater power.

The Battle of Castiglione and the combat at Peschiera medallion pays tribute to Napoleon's victories in Italy. Napoleon faced an Austrian ground forces in both locations and defeated them, strengthening the French Army'due south position in the region.^[ix] The coin displays three naked warriors, ii locked in gainsay while the tertiary lies slain on the basis. Of the two living figures, one, representing Napoleon'due south ground forces, stands ready to strike the final blow to the vanquished Austrians. In some versions Napoleon'due south name is inscribed on the money connecting Bonaparte to the victory and promoting his own personal prototype.^[x]

The Capitulation of Mantua coin commemorates the capture of the Northern Italian city by Napoleon. The medal depicts a woman handing the keys of the city to a Roman warrior. On the reverse, 'A L'Arméé D'Italie Victorieuse' is inscribed in addition to Napoleon's proper noun on some editions of the coin. Symbols from antiquity were used throughout the revolutionary menstruum to tie the new French Republic to the glory of Aboriginal Rome. By using Roman soldiers on the medallions, Napoleon non only connects himself to the grandeur of ancient times, simply also promotes his image every bit a victorious leader of Revolutionary French republic.

The Tagliamento-Trieste medallion immortalizes Napoleon's 1797 crossing of the Tagliomento River and the capture of Trieste. The medal shows a god-similar figure reclining near a river while a charging army rushes a fleeing group of men. The attacking army is headed by a homo on horseback, presumably Napoleon. Like the other medallions, one version has Napoleon's proper noun inscribed on the side.^[xi] The medallion bolsters Napoleon's prototype past directly connecting him to withal some other victory.

References [edit]

1. ^ ^{a b} Hanley, The Genesis of Napoleonic Propaganda, 23.
2. ^ Hanley, The Genesis of Napoleonic Propaganda, 141.
3. ^ Censer and Hunt, Liberty, Equality, Fraternity, 141.
4. ^ Hanley, The Genesis of Napoleonic Propaganda, 144.
5. ^ Laskey, A Description of the Series of Medals, three.
6. ^ Lynn Hunt, Politics, Culture, and Course in the French Revolution,p. 94.
7. ^ Hanley, The Genesis of Napoleonic Propaganda, 151.
8. ^ Hanley, The Genesis of Napoleonic Propaganda, 152.
9. ^ Hanley, The Genesis of Napoleonic Propaganda, 156
10. ^ Hanley, The Genesis of Napoleonic Propaganda, 155.
11. ^ Hanley, The Genesis of Napoleonic Propaganda, 158.

Works Cited [edit]

Censer, Jack R. and Lynn Hunt (2001). Liberty, Equality, Fraternity: Exploring the French Revolution. University Park: Pennsylvania State University Press. ISBN 0-271-02087-three.

Hanley, Wayne (2005). The Genesis of Napoleonic Propaganda 1796-1799. New York: Columbia University Press. ISBN 0-231-12456-2.

Hunt, Lynn (1984). Politics, Culture, and Course in the French Revolution. Berkeley and Los Angeles: University of California Press. ISBN 0-520-05204-8.

Farther reading [edit]

Ellis, Geoffrey. (1997) Napoleon. (London: Longman).

Laskey, Helm John C. (1818) A Description of the Series of Medals Struck at the National Medal Mint by Club of Napoleon Bonaoparte commemorating the Almost Remarkable Battles and Events During his Dynasty. London: Blackhorse Courtroom.

Lyon, Martyn. (1994) Napoleon Bonaparte and the Legacy of the French Revolution. (Chicago: University of Chicago Press).

Holtman, Robert. (1950). Napoleonic Propaganda. (Baton Rouge: Louisiana State Academy Press.)

mixonvadvapegul1994.blogspot.com

Source: https://en.wikipedia.org/wiki/Napoleonic_propaganda

Share this post