Ready to leave for the Eternal City, from Souvenirs d’Italie: Expédition de Rome 1850

Editor: So, this is "Ready to leave for the Eternal City, from Souvenirs d’Italie: Expédition de Rome" by Auguste Raffet, created around 1850. It's a lithograph printed on paper. It feels very much like a military portrait, and there's a strong sense of anticipation in their stance, even though they're just standing still. What do you make of this piece? Curator: Anticipation is a perfect word. For me, it conjures the smell of gunpowder and dust—a Romantically heightened vision of soldiery. Raffet captures not just their appearance, but an atmosphere... something gritty and determined. Have you noticed how each figure, though part of a line, feels intensely individual? Editor: Absolutely! They’re uniform but all so distinct in their facial expressions and the way they hold themselves. Is that a common element in military depictions of this time? Curator: It’s a beautiful tension, isn’t it? Military art often veers between idealizing the collective strength and acknowledging the individual's role. Raffet, though clearly admiring, hints at the psychological weight of their mission, perhaps? It also taps into the French fascination of the Romantic era with strong, decisive leaders—a longing that, admittedly, can be a bit suspect. Editor: That makes sense. It is very easy to romanticize soldiers and battles. Curator: Indeed. And I suspect Raffet, knowingly or not, played into that a little. But it’s the texture, the line work that elevates this piece for me. Look at the almost frenetic energy of the shading, the contrast with the figures and plain background… what feeling does this bring up for you? Editor: I see the contrast between the smooth paper and the depth Raffet created with all the dark lines. I like the details. It is also a lesson in subtlety. I hadn't really picked up on how well he balanced everything until now! Curator: Me neither. The experience shows you new layers to admire each time, doesn’t it?