Napoleon als vredestichtende Mars 1785 - 1836

Antonio Ricciani made this print, Napoleon as Mars the Peacemaker, sometime in the early 19th century. Its medium is aquatint, a printmaking technique that simulates the appearance of watercolor washes. The process involves etching tones onto a copper plate using acid, creating a granular surface that holds ink. This labour-intensive method allowed for subtle gradations of light and shadow, as we can see in the figure’s idealized physique. Notice how the artist captured the textures of the fabrics that drape Napoleon’s body. The choice of aquatint underscores the social context of the artwork. By mimicking the aesthetics of watercolour, a medium associated with the upper classes and amateur artistic activity, the print attempts to ennoble Napoleon’s image. Although it is a mass production medium, here the mode of production tries to deny its own nature. Ultimately, understanding aquatint's capabilities and limitations is key to understanding the print's social ambitions, a potent reminder that materials and making are never neutral.