Inname van Lyon door Johann Maria Philipp Frimont 1815

Curator: So, this captivating piece is a medal commemorating the "Inname van Lyon door Johann Maria Philipp Frimont," or the capture of Lyon by Johann Maria Philipp Frimont. It dates back to 1815. Editor: My initial thought? This piece carries the weight of history, doesn't it? It’s a quiet object humming with tales of war, politics, and power—all held in the palm of your hand, essentially. It looks austere and somber too, with all that gray metal. Curator: Austere is a good word. The starkness is, I think, intentional. We see classical elements; for instance, a possible owl of Athena sits perched above crossed weapons. Medals often served not just as mementos but also as deliberate statements of authority. Editor: Absolutely, a medium broadcasting authority through readily available materials. The precision die-cast printing and lettering denote mass production—meant to be held, exchanged, and circulated, subtly influencing perspectives about wars and its protagonists at the end of the Neoclassical and the beginning of the Biedermeier Era. The material and manufacturing reflect its social role as a tool of the state. It's almost propaganda in coin form, a solid emblem meant to last, unlike fleeting news or talk. Curator: That makes me consider the artistic intent—how do we make heroism tangible, portable? The choice of imagery, the classical nods... the piece wants to link Frimont’s victory to a legacy of ancient triumphs, doesn’t it? As the light dances on it, don't you find yourself contemplating its inherent stories and intended purpose, its very being resonating through time? Editor: Definitely! And, to take your perspective into consideration, how might each of these individual medallions create the experience of an object capable of activating shared narratives among diverse populations, with access to and participation with these state-sponsored currencies? It's a token, after all—and an emotional conduit too. Curator: A pocket-sized piece of eternity, or at least, that was the hope. Seeing the ambition, literally stamped onto the medal... Well, it always makes me wonder about our attempts to shape history's narrative. Editor: Well said. The medal transforms the wearer into a walking billboard; I wonder who decides which narratives will endure... Or even more, maybe it’s really about *how* we continue telling them.