Napoleon verkoopt gestolen goed, 1813 Possibly 1813

Editor: Here we have "Napoleon verkoopt gestolen goed," likely from 1813, a watercolor print by Thomas Rowlandson. The scene is chaotic, a kind of bizarre auction. What catches my eye is the clear imbalance, the way Napoleon dominates the composition. What do you make of it? Curator: Indeed, the asymmetrical arrangement is deliberate, guiding our gaze from the commanding figure of Napoleon to the frenzied crowd. Observe the lines: angular and sharp around Napoleon, contrasting with the almost comical roundness of some of the onlookers. How does this linear distinction affect your perception of power within the piece? Editor: It makes Napoleon seem rigid and imposing, almost inhuman compared to the more expressive crowd. So, you’re saying the form reflects the content, this idea of his authoritarian rule? Curator: Precisely. Moreover, consider the color palette. The artist uses muted tones, except for strategic pops of gold – note the crowns piled at Napoleon's feet. What does this emphasis on a single colour suggest in the context of an alleged selling of stolen goods? Editor: It draws attention to the wealth and power being acquired, perhaps even highlighting the decadence and greed associated with Napoleon's actions. The bright gold contrasts against the otherwise dull palette. Curator: A keen observation. It suggests that even in this tumultuous scene, the allure of wealth remains central. One may read a simple contrast or division between dull powerlessness and attractive power in this way. A certain irony pervades this cartoon because those are merely images. Editor: So, by analysing the formal elements, the artist is able to express meaning without even relying on the satire present in the print. Fascinating! I wouldn’t have noticed the strategic use of color if you hadn't pointed it out.