Tomb of Louis XVI and his family, with hidden silhouettes 1793 - 1800

Editor: This print, "Tomb of Louis XVI and his family, with hidden silhouettes," dating from 1793-1800, really strikes me as mournful. I notice a woman draped in what appears to be a shawl, next to what might be the tomb itself. What is most curious about this piece? Curator: This engraving, created anonymously after the execution of Louis XVI and Marie Antoinette, presents a fascinating visual commentary on the French Revolution. Its mournful mood reflects the political turmoil and social upheaval of the period, which sought a permanent split from royal history. Consider how the imagery of the weeping willow and somber figure operate within the Romantic artistic tradition to evoke a sense of loss. Do you think the inclusion of those faint figures adds something? Editor: I see! Is that the silhouettes? Yes, they seem important! It’s as if it acknowledges some sort of quiet memory, something unspoken but definitely *felt*. Curator: Precisely! Silhouettes became popular due to their quick production, even being seen as democratized portraiture. Yet here, hidden as you noted, their presence implies an almost clandestine memorialization. The artist cleverly uses the visual language of mourning to comment on the dangers of even remembering the royals publicly. How might this piece have functioned for those sympathetic to the monarchy during this revolutionary period? Editor: It gives them something secret to cling to? The artist is navigating dangerous political waters by subtly evoking sympathy for the executed royals without being overtly rebellious. Curator: Exactly. And the presence of those hidden images certainly provides them something covert, even forbidden to view, allowing viewers a clandestine space to memorialize a time now passed. Editor: This really highlights the intersection of art, politics, and collective memory. Thank you. Curator: And you, for opening my eyes to a new way of understanding the imagery!