Abstract
AbstractIn 2009 and 2010, respectively, the Getty Research Institute acquired a sketchbook and a set of prints by the French painter and printmaker Felix Bracquemond (1833–1914). Both groups of works document episodes from the traumatic eight‐month period in Parisian history (September 1870–May 1871) that witnessed the siege and invasion of Paris, and the Commune. This essay discusses the differences between the two documents: one a set of prints, carefully packaged for marketing purposes, which depicts scenes from the siege; the other a spontaneously scribbled narrative along with several watercolors and wash drawings that provide a dramatic eyewitness account of the final “bloody week” of the Paris uprising. It then links these differences to the ways in which the siege and the Commune have fared in collective French memory.
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