Overlijden van generaal Desaix in de veldslag bij Marengo 1800 1800

Curator: Here we have a bronze relief by H. Auguste, dating from 1800. It's titled "Overlijden van generaal Desaix in de veldslag bij Marengo 1800," which translates to "Death of General Desaix at the Battle of Marengo, 1800". The object in view commemorates the General. What do you see when you look at this? Editor: Bronze! And gravitas. There's something immediately solemn about the choice of material; like a little, weighty time capsule holding this historical moment. It feels intentionally... cold. Is that just me? Curator: Not at all. The bronze gives it a sense of permanence, of course. And the Neoclassical style, with its focus on heroic themes and idealized figures, certainly lends to that solemnity. On one side, we see a profile of Desaix himself, framed by text. It’s the other side that really grabs me— his final words engraved onto the relief, expressing regret for not having done enough to live in posterity. Can you imagine being focused on legacy in your final moments? Editor: Fascinating, the obsession with reputation. Think about the labor: the mining, smelting, casting... Bronze wasn't cheap, especially not during wartime. So commissioning this was a real statement. It’s a form of material propaganda, literally casting Desaix's image, creating and solidifying his position in the narrative of the battle of Marengo and in history itself. Were these kinds of objects widely disseminated at the time, or kept for a private display of reverence? Curator: Good question. Likely produced in multiples. Think of it as early media— controlled narratives meant to shape public perception of these historical events. They function simultaneously as memorial, political tool, and objet d'art. The craftsmanship is beautiful. And there's something about holding history literally in your hands, about feeling the weight of it... that a painting or photograph just can’t capture. It forces a closer inspection and a prolonged consideration about what you're holding and about how this all played out. Editor: Exactly. It's almost transactional—this little exchange we're having with history and memory. It prompts reflection, certainly, not only about Desaix but about the materials of history itself and about the messages we choose to cast into form. It leaves me considering what we choose to commemorate, and how.