Abstract
By way of a case study devoted to Jean‐Jacques Hauer (1751–1829), one of the minor figures making their Salon debut in the French Revolution, this essay explores the relations between art and historical events in times of radical transformation. A citizen–artist serving with the National Guard, the painter was a humble practitioner enjoying his greatest success at the height of collective militancy known as the sans‐culotte movement. The French Revolution allowed Hauer to go public, and most of his œuvre is closely tied to its tangled politics. Representations from the death of Marat to the plight of the royal family are examined in the context of shifting discourses, sectionary politics and civic commitment.
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