The University of North Carolina at Chapel Hill

Napoleonic Military Propaganda1 By Summer Pennell

In this lesson for 9-12 Social Studies and English Language Arts, students will examine two examples of propaganda from post-Revolutionary France in the 1800s (Boilly’s The Flood (hi-res image) and Maurin’s The Triumph of Bonaparte (hi-res image)). Students will learn how modern propaganda techniques began in the French Revolution, and then compare the two works to analyze differences in the artists’ purposes and intended audience. Lastly, they will create an Instagram account (on paper) about The Flood as a form of propaganda. This lesson can be incorporated into existing units on the French Revolution and Napoleon’s reign, or as a stand-alone to teach about propaganda.

Instructional objectives

Students will:

Demonstrate their understanding of propaganda techniques, specifically those used after the French Revolution

Identify symbols and other visual elements in two art works that show how the works are propaganda

Create an Instagram account (on paper) about The Flood as a form of military propaganda

1 A project supported by the Samuel H. Kress Foundation

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Teacher planning

Time required

2 45-minute lessons or 1 90-minute block

Materials

Teacher computer with internet access connected to a multimedia projector, with access to these sites and documents: o Jacques-Louis David’s Napoleon Crossing the Alps o Boilly’s The Flood o Maurin’s The Triumph of Bonaparte (p. 10)

Student computers with access to these sites: o Propaganda: Symbols of the Revolution o Boilly’s The Flood o Maurin’s The Triumph of Bonaparte o Louis-Léopold Boilly: Talented Artist, Savvy Business

Man, Slightly Scandalous Jokester (short biography available on the Teacher Resources page)

Student handouts (included in this document; also on the website as one Word document): o Napoleon and Propaganda o Propaganda Comparison o Louis-Léopold Boilly: Talented Artist, Savvy Business

Man, Slightly Scandalous Jokester (if not accessing on the computer)

o Instagram: Questions for Analysis o Instagram instructions

Chart paper or other large paper

Markers/colored pencils/ other drawing materials

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Teacher preparation

One computer per student or pair is necessary for this lesson.

The culminating activity can be completed individually or in small groups. If possible, allow students to look at the suggested existing Instagram accounts. You may need to work with your schools’ technology specialist to gain access to Instagram if it is blocked.

Instructions

Part 1: Background on Propaganda

1. Introduce the lesson by asking what students know about propaganda. After facilitating a short discussion, tell students that they will learn how propaganda as we know it today began, examine a few examples, and create their own.

2. If this lesson is used as part of a larger unit on the French Revolution and Napoleon, ask students to recall what they know about the time period and political turmoil. Ask them why they think propaganda would have been important to Napoleon and other leaders at the time.

3. Show students Jacques-Louis David’s Napoleon Crossing the Alps, one of the most famous paintings of Napoleon, and ask them what makes this propaganda. Ask them to consider artistic elements such as angles, scale, and symbolism. (For more ideas on how to analyze art, see the Art Interpretation Circles strategy, available as a PowerPoint and teacher’s guide).

4. Tell students that next they will learn more about propaganda after the French Revolution, and project this website. Pass out the Napoleon and Propaganda handout (p. 9 in this document) or tell students how to access it on their computers, and instruct them to begin working.

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5. After students are finished, go over the handout (you may wish to ask students to trade papers and check the answers). Project David’s Napoleon Crossing the Alps painting again, so that students can point out specific details that make this a clear example of propaganda. Clear up any misunderstandings, and tell students that next they will examine more art objects.

Part 2: Art Works Comparisons

1. Next, tell students that they will be looking at two more art works from the same time period. Project Boilly’s The Flood and then Maurin’s The Triumph of Bonaparte and tell students they will be analyzing these works individually.

a. Note: This website has brief information about the symbolism in The Triumph of Bonaparte

b. See the “Extensions” section of this lesson plan (p. 7) for more information about the work from an art historian

2. Students should still be seated at their computers, with access to either a hard or soft copy of the Propaganda Comparison handout and Louis-Léopold Boilly: Talented Artist, Savvy Business Man, Slightly Scandalous Jokester, and links to the art objects (The Flood and The Triumph of Bonaparte). Go over the handout and answer any questions. Stress that students should carefully examine the art objects, as they did with Crossing the Alps, and that their answers should include specific details.

3. Instruct students to begin working. Walk around the room to monitor and answer any questions.

4. When students are finished, facilitate a discussion about the art objects. Collect both handouts, and grade them before the next section.

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Part 3: Instagram

1. Begin by asking students to briefly summarize what they learned in the previous two activities. If necessary, clear up any misconceptions.

2. Introduce the last segment by asking students if they use Instagram. Ask them what they use it for, and what they see their friends or other people they follow using it for.

3. After a brief discussion, ask students how Instagram could be used as a form of propaganda. Ask them to speculate what that would look like.

4. Show students some examples of U.S. military Instagram accounts (Air Force, National Guard, or Coast Guard) and facilitate a discussion about how these accounts serve as propaganda. What messages do the pictures tell? What is highlighted in the images? What is left out? What visual elements are used as symbols? You may wish to pass out the Instagram: Questions for Analysis (p. 12) sheet to help students in their analysis. This step can be done more quickly as a whole class, or extended into longer small group discussions.

a. You may also be interested in this article, which briefly explains the differences between propaganda, advertising, and marketing

5. Next, project (or have students look on their own computers) Boilly’s The Flood and Maurin’s The Triumph of Bonaparte. Ask them if the military Instagram accounts they examined are more subtle forms of propaganda like Boilly’s work, or more obvious like Maurin’s, or both. Have students reference specific examples from both the Instagram accounts and the art objects to support their answer.

6. Tell students that they will create an Instagram account on paper for Napoleon’s army to show what happened in The Flood. Project the Instagram instruction sheet (p. 13; Napoleon would have been an Instagram master!) and go

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over it with students. Stress that their Instagram feeds need to both tell a narrative of the story shown in The Flood as well as serve as propaganda for Napoleon’s army.

7. Project the Instagram feed rubric (p. 14) and go over with students, ensuring they are clear on the expectations.

8. Pass out Instagram instruction sheets to each student or group of students, as well as their graded handouts from the previous activities. Project The Flood so that students can examine it, or instruct them to look at it on their own computers. Tell students they can refer back to the previous discussion about the drawing for inspiration.

9. Instruct students to begin working, and walk around the room to monitor and answer questions. When students are finished, post their work around the room so everyone can view them.

Assessment

The Instagram feed is the main assessment, and can be graded using the provided rubric (p. 14).

The Napoleon and Propaganda and Propaganda Comparison handouts can be graded using the provided answer keys.

Standards

North Carolina Essential Standards: Social Studies

World History

WH.6 Understand the Age of Revolutions and Rebellions.

Common Core

Writing in History/Social Studies, Science, and Technical Subjects

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WHST.9 Research to Build and Present Knowledge

Draw evidence from informational texts to support analysis, reflection, and research.

English Language Arts

9-10 RL.7 Integration of Knowledge and Ideas

Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden's "Musee des Beaux Arts" and Breughel's Landscape with the Fall of Icarus).

Extensions

More information on The Triumph of Bonaparte

The lithography included in this lesson was based on a drawing by Pierre-Paul Prud’hon. Elizabeth Guffey, art historian, wrote this about the original drawing:

The Triumph of Bonaparte represents Napoleon, who had just seized power in 1799 and established the Consulate… [he is shown here] standing in a chariot. Napoleon’s progress is guided by Victory, who directs the cart, while Peace accompanies them. Leading the triumphal procession before him are putti [chubby, winged male children] who represent Play, Laughter, and Pleasure; they carry an olive branch and walk before the Muses, who immediately proceed the cart. Possibly in reference to Napoleon’s recent Italian campaign (and plundering of Italian art collections), the Arts, including Painting, Architecture, Sculpture, and Mathematics, happily walk behind the conquering hero. (p. 95)

Guffey, E. E. (2001). Drawing an Elusive Line: The Art of Pierre-Paul Prud'hon. University of Delaware Press.

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Examples of Napoleonic propaganda

Other paintings of Napoleon from the 1800s

Antoine-Jean Gros, Bonaparte Visiting the Plague Victims of Jaffa, 1804

Jean Auguste Dominique Ingres, Napoleon I on his Imperial Throne, 1806

Antoine-Jean Gros, Napoleon on the Battlefield of Eylau, 1807

Jacques-Louis David, The Coronation of Napoleon, 1808

Charles Etienne Pierre Motte, The Crossing of Mont Saint-Bernard, 1822

Paul Delaroche, Napoleon I at Fontainebleau, 1840

Paul Delaroche, Napoleon Crossing the Alps, 1850

Contemporary works inspired by Napoleonic works

Kehinde Wiley, Napoleon leading the army over the Alps, 2005 o Compare to David’s Napoleon Crossing the Alps

Kehinde Wiley, Ice T, 2005 o Compare to Ingres’s painting

For more examples of propaganda related to Napoleon, and an essay explaining the art works, look at the virtual gallery titled Persuading the Public: Napoleon, Propaganda, and Satire in the Collection of the Ackland Art Museum.

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Napoleon and propaganda

Instructions: Read this website (http://www.ngv.vic.gov.au/napoleon/art-and-design/propaganda) and answer the following questions in your own words.

Symbols of Revolution

1. Why did the leaders of the French Revolution use propaganda?

2. Why, in particular, did they use cartoons and other forms of art, rather than texts?

3. What were some of the symbols they used, and what did they represent? (pick 2)

4. What kinds of images were “in demand”?

5. How were Revolutionary festivals different from those in the past? Why do you think this was

the case?

Napoleon- Master of Propaganda

6. Describe how artist Jacques-Louis David portrayed Napoleon in his art works:

7. Describe how artist Antoine-Jean Gros portrayed Napoleon in his art works:

8. Describe how the pictured portrait of Napoleon is a form of propaganda:

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Antoine Maurin, French, 1793-1860, Triumph of Bonaparte, 1824; Lithograph. Ackland Art Museum, The University of North Carolina at Chapel

Hill. Ackland Fund, 74.10.3

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Propaganda Comparison

Carefully examine and compare Maurin’s The Triumph of Bonaparte and Boilly’s The Flood to fill in the chart and answer the questions. As you answer the questions, be sure to reference specific details from the objects as well as the Propaganda and Napoleon sheet. You will also need to read Louis-Léopold Boilly: Talented Artist, Savvy Business Man, Slightly Scandalous Jokester.

Comparison chart

Maurin’s The Triumph of Bonaparte Boilly’s The Flood

1. What is the main subject? How do you know?

2. Who do you think is the intended audience? How do you know?

3. What is the effect of this piece? How do you feel looking at it? Why?

4. Do you identify this work as propaganda?

5. If so, what elements made you think so? If not, what elements made you think otherwise

1. What is the main subject? How do you know?

2. Who do you think is the intended audience? How do you know?

3. What is the effect of this piece? How do you feel looking at it? Why?

4. Do you identify this work as propaganda?

5. If so, what elements made you think so? If not, what elements made you think otherwise

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Interpretive Questions

1. Explain what purposes might cause an artist and/or politician to choose one of these

paintings over another:

2. Given the differences you described above, speculate what reasons or

circumstances would cause Napoleon to favor each object:

3. Read Louis-Léopold Boilly: Talented Artist, Savvy Business Man, Slightly

Scandalous Jokester. Given what you know about his life and interests, why do you

think he chose to create The Flood rather than something like The Triumph of

Bonaparte?

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Louis- Léopold Boilly: Talented Artist, Savvy Business Man, Slightly Scandalous Jokester French artist Louis-Léopold Boilly (1761-1845) was an artist known for his portraits and paintings of scenes of everyday life. These scenes, called genre paintings, were highly popular with art collectors and the French public in the early nineteenth century. People got together to discuss genre paintings, similar to how we might talk about reality television today. Boilly’s genre paintings helped established his reputation as a skilled artist and careful observer of the social manners and customs of his time. His career, most of which was spent in Paris, spanned one of the most tumultuous periods in French history: the French Revolution through the Napoleonic Empire and Bourbon Restoration (1789 – 1830). Boilly successfully navigated these uncertain decades by creating works that were popular and by selling printed reproductions of his paintings. By allowing his paintings to be reproduced as engravings Boilly was able to sell art to people who could not afford one of his oil paintings. He was as much a savvy business man as he was a talented artist. Boilly’s family background and artistic training likely contributed to his entrepreneurial spirit. Born on July 5, 1761 in La Bassée, a small town along the far northeast boarder of France, he was the only son of a wood carver. His father trained him, and hoped Boilly would work as a decorative painter, which is more of a trade than fine art painting. Boilly was also trained by Dominique Doncre, an artist who specialized in trompe l’oeil painting, images that are so detailed they “trick the eye” making the viewer believe what s/he sees is real. Boilly used this training to create highly detailed images of everyday life in Paris. Yet with this fine arts training, he did not give up his knowledge of business learned from his father. He sought every available opportunity to find buyers for his work. He displayed his work at annual public exhibitions, designed paintings that would attract viewers’ attention, and actively engaged with the print market to sell reproductions of his works. Today Boilly is most remembered for his paintings of Parisian street life, images that recorded popular places in and around the city. But during the Revolution Boilly’s most popular works were his scenes of romantic exchanges between couples. While these works sold well, especially as prints, they also nearly cost Boilly his life. On April 22, 1794, at the height of the political regime known as the Terror, Boilly was publically denounced as a creator of immoral subjects by fellow artist Jean-Baptist Joseph Wicar. Wicar brought charges of obscenity against Boilly before the Committee of Public Safety, a revolutionary artists' group, demanding his paintings be “burnt at the foot of the tree of Liberty.” Boilly appeared before the committee to defend his work, insisting on the moral purity of his intentions and even asked to be admitted to the organization. His studio was searched, but after being found absent of offending materials Boilly was cleared of all charges. This was extraordinary, because during the Terror few who went on trial escaped execution by the guillotine. One can imagine that Boilly must have been charming, intelligent, and brave to keep his life, not to mention cheeky since he asked to be a member of the very group who would execute him! After the Revolution, Boilly continued to exhibit his paintings and sell prints of his most popular works. He even learned how to use lithography, a form of printing that mimics drawing, to make his own prints. He lived in Paris until his death on January 6, 1845. Think about Boilly as a person as you examine The Flood and his other works.

For definitions and examples of the bolded terms, visit the Key Terms page.

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Instagram: Questions for Analysis

Not all of these questions will be applicable to every photo, but they can help you critically examine them to consider the meanings behind each image.

1. What is the subject of, or who are the key figures in, the

picture, and why?

2. Who is the intended audience for the image? What makes

you think so?

3. What is one word you would use to describe this work?

Why?

4. What is the main argument or position of the image?

5. How is that argument or position made? Consider:

a. What camera angle was the picture taken from? What

effect does this have?

b. What visual elements are used as symbols?

c. If people are represented, how are they pictured? What

kinds of relationships are shown?

d. How is diversity shown, if at all? Look at diversity in

terms of race, nationality, gender, sexuality, religion,

age, and ability.

6. What is NOT shown? What kinds of people, events,

symbols, etc. are missing from the photos? Why do you think

these things are excluded?

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Napoleon would’ve been an Instagram master!

Carefully examine Boilly’s The Flood and create an Instagram feed (on paper- not on the computer) of the event from the perspective of Napoleon’s army. Your work should be a clear example of propaganda. Look at the examples of Instagram accounts used in the U.S. military for ideas. For comparison, look at the accounts of news networks’ Instagrams (links at the bottom of the page), to examine the difference in audience and purpose. You drawings don’t have to look perfect, but they do have to get your point across. Think of things like camera angles, audience, and argument as you create your pictures. Be as creative as possible!

Your Instagram feed must include:

The military’s username, bio, and profile picture

6 “pictures” (minimum), that have:

o A caption

o A #(hashtag) for the event

o Other hashtags as appropriate- you can be really creative here

o At least 12 total comments from other users (you can choose how to divide these

among your pictures)

o Optional- show the number of “likes” per picture

Pictures must be captured from the point of view of the Napoleonic military

Pictures and captions must clearly be propaganda that address the two goals of:

o 1) Showing the military’s strength

o 2) Making the public love them by showing how the military cares about the

public

Symbols (at least 3) specific to the French Revolution must be included (refer to your

Napoleon and Propaganda sheet). This will require you to be very creative, as you can’t

have mythological characters in a real-life story. Think of other ways symbols can be

included, and refer to the Napoleon and Propaganda sheet.

Pictures must show a clear narrative arc- think about what happened before and after

the scene in The Flood to flesh out the story. While this does not have to read as

cohesively as a comic book—you do not have to show every single moment in the

narrative-- the pictures should tell a story and relate directly to the drawing.

Military Instagram Accounts News Networks Instagram Accounts

U.S. Air Force http://instagram.com/officialusairforce#

U.S. Coast Guard http://instagram.com/uscg

U.S. National Guard http://instagram.com/nationalguard

CNN http://instagram.com/cnn

Fox News http://instagram.com/foxnews#

MSNBC http://instagram.com/msnbc

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Name ___________________________________________________________ Block ______ Date __________

The Flood Instagram feed rubric

4 3 2 1

Propaganda Through artistic elements (angles, space), symbols, & captions, it is clear this is military propaganda from Napoleon’s army. The army looks both strong and caring.

Through artistic elements (angles, space), symbols, & captions, it is fairly clear this is military propaganda from Napoleon’s army. The army looks strong and/or caring.

Through artistic elements (angles, space), and captions it is vaguely clear this is military propaganda. It is not obviously linked to Napoleon’s army. The strength and care of the army is not the main message.

The artistic elements and captions are not used effectively and the piece only vaguely looks like propaganda. The goals of strength and caring are not met. It looks more like a personal Instagram.

Historical knowledge

Pictures, captions, comments, and/or hashtags contained information clearly related to the period after the French Revolution and during Napoleon’s reign.

Pictures, captions, comments, and/or hashtags contained information related to the period after the French Revolution and during Napoleon’s reign. Some information may be unclear.

Pictures, captions, comments, and/or hashtags contained information vaguely related to the period after the French Revolution and during Napoleon’s reign. Some explanation may be necessary.

Pictures, captions, comments, and/or hashtags contained information unrelated to the period after the French Revolution and during Napoleon’s reign. It may seem to take place in our time.

POV It is clear from the design of all of the pictures, captions, and hashtags that the POV is from Napoleon’s army, directed towards the French public.

It is fairly clear from the design of most of the pictures, captions, and hashtags that the POV is from Napoleon’s army. It may not clearly look directed towards the French public.

You can tell this is from the POV of an army or the military, but it is not clear that it is specific to Napoleon’s army or the French public.

The POV does not seem to be from the soldiers at all, it looks like it could be from another figure in Boilly’s drawing.

Story The Instagram feed shows a clear narrative arc that is directly related to The Flood.

The Instagram feed shows a narrative arc that is directly related to The Flood. There may be some confusing gaps.

The Instagram feed shows a narrative of a flood and rescue, but it doesn’t seem specific to The Flood. There may be some confusing gaps.

The Instagram feed is not a narrative- some pictures may seem out of order. It is not directly related to The Flood.

Completion You had 6 pictures and all other requirements.

You had 4-5 pictures and most other requirements.

You had less than 4 pictures; only some of the other requirements.

Comments:

Name ______ANSWER KEY________________________________ Block _______ Date _____________

Napoleon and propaganda

Instructions: Read this website (http://www.ngv.vic.gov.au/napoleon/art-and-design/propaganda) and answer the following questions in your own words.

Symbols of Revolution 1. Why did the leaders of the French Revolution use propaganda?

Wanted to instill a sense of loyalty, national identity, & patriotism

2. Why, in particular, did they use cartoons and other forms of art, rather than texts?

Most of the public were illiterate

3. What were some of the symbols they used, and what did they represent? (pick 2)

The Republic- a woman draped in Classical clothing and wearing the red Phrygian cap of Liberty Equality- woman, holding a level Fraternity- fasces- bundles of birch sticks bound with a leather strap Pike- weapon of the people Rake- the Third Estate Lion- power 4. What kinds of images were “in demand”?

Key events of the Revolution, images showing civic virtues and dedication to France, often in forms of historical or mythological allegories

5. How were Revolutionary festivals different from those in the past? Why do you think this was

the case?

Focused on the soldiers and martyrs, rather than the officers, also were not religious. The Revolution was about the people, not the upper classes- wanted everyone to participate, to “create collective attitudes and allegiance”

Napoleon- Master of Propaganda 6. Describe how artist Jacques-Louis David portrayed Napoleon in his art works:

As powerful historical figures (Charlemagne), working in his office for the country, his coronation- ceremonial and historical aspects

7. Describe how artist Antoine-Jean Gros portrayed Napoleon in his art works:

Showed Napoleon in action on the battlefield and visiting sick beds- made him look superhuman

8. Describe how the pictured portrait of Napoleon is a form of propaganda (click to enlarge):

Elaborate throne and robes that seem rich and decadent, Roman-style crown, scepter, sitting on top of a globe, makes Napoleon look like the leader of the universe

Name ______ANSWER KEY________________________________ Block _______ Date _____________

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Propaganda Comparison

Carefully examine and compare Maurin’s The Triumph of Bonaparte and Boilly’s The Flood to fill in the chart and answer the questions. As you answer the questions, be sure to reference specific details from the objects as well as the Propaganda and Napoleon sheet. You will also need to read Louis-Léopold Boilly: Talented Artist, Savvy Business Man, Slightly Scandalous Jokester.

As this asks for individual interpretation, answers may vary.

Maurin’s The Triumph of Bonaparte Boilly’s The Flood

1. What is the main subject? How do you know? Napoleon- he’s on a chariot in the center, wearing darker clothes so your eye is drawn to him

2. Who do you think is the intended audience? How do you know? People of France- it shows him as a hero, maybe if they didn’t like him this would convince them, or if they do like him it supports their vision of him

3. What is the effect of this piece? How do you feel looking at it? Why? I feel this person is noble and that it is a formal celebration- everyone is dressed similarly, facing the same direction, standing very straight.

4. Do you identify this work as propaganda? Yes! (This painting is unambiguous, students should recognize it as propaganda)

5. If so, what elements made you think so? If not, what elements made you think otherwise?

It is clear that the message is Napoleon is a heroic leader- there is no room for another interpretation, everything in it supports showing him as a hero. He rides in a chariot, surrounded by followers, dressed in Roman-style clothing. There are mythological references too: cherubs and a woman with wings.

1. What is the main subject? How do you know? A family being rescued by soldiers. The woman raising her arms is in the center and the light is shining on her.

2. Who do you think is the intended audience? How do you know? Maybe citizens (not soldiers) and especially women- it is a family shown, they are the center rather than the soldiers. There is only 1 man who is not a soldier but his back is turned.

3. What is the effect of this piece? How do you feel looking at it? Why? Drama and disaster- it is a dramatic rescue scene, women are in distress and not fully dressed so the rescue probably happened quick. There are soldiers rescuing them, the facial expressions on some of the people (soldiers and women) look worried.

4. Do you identify this work as propaganda? Yes or No (both acceptable as long as #5 justifies their answer

5. If so, what elements made you think so? If not, what elements made you think otherwise?

Yes: soldiers are shown helping a family, so could be propaganda to show the soldiers’ and the army’s goodness and kindness.

No: The family and women are the focus while the soldiers are on the edge, so it is shown more for dramatic entertainment. Also, many of the soldiers look worried, so they don’t look heroic.

Name ______ANSWER KEY________________________________ Block _______ Date _____________

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Interpretive Questions

Answer these questions using specific details from the art objects.

4. Assuming both of these art objects are propaganda in favor of Napoleon and his

army, explain the differences between them:

Maurin: Obviously propaganda, everyone is facing the same direction as if following the same path towards a united nation, Napoleon is in a chariot like a hero, many people are looking up to him, they’re wearing Roman clothing as was typical of Napoleonic propaganda. There are mythological elements- cherubs, angels. Napoleon stands tall and straight, like a proud leader. Looking at this, you see Napoleon as a strong world leader.

Boilly: This is not showing the soldiers as necessarily the bravest, as they are saving a family in a flood instead of fighting in battle or marching together. But, it does show soldiers as kind humanitarians, interested in the people as well as winning battles. There are no obvious symbols from history or mythology, but the soldiers do wear the uniforms of Napoleon’s army (the hat). Looking at this, you see the soldiers, and Napoleon by extension, as kind and generous, someone who truly cares about the safety of his people.

5. Given the differences you described above, speculate what reasons or

circumstances would cause Napoleon to favor each object:

Maurin: To commemorate a battle or other large event, to showcase Napoleon as a leader. He may also use it to try to intimidate other world leaders, or even his own people.

Boilly: To show the people that the army, and Napoleon, are caring and kind. Maybe he would use this when people were not as supportive of the army, to show their good qualities.

6. Read Louis-Léopold Boilly: Talented Artist, Savvy Business Man, Slightly

Scandalous Jokester. Given what you know about his life and interests, why do you

think he chose to create The Flood rather than something like The Triumph of

Bonaparte?

Because Boilly was a business man and liked to make art that would sell, he may have created this drawing because it has more than one subject, unlike the Maurin piece. In The Flood, people may like it because it shows a dramatic scene from real life: family, under-dressed women, a rescue scene, soldiers, a dog, city streets, etc. He may also have been hesitant to make something that was obviously propaganda, as if the government changed again he wouldn’t want to be in trouble with the new leadership and go on trial again. By making a more ambiguous work, he could argue (if necessary) that it was not propaganda for the army at all.