Richard Taws

A riveting exploration of the relationship between art and telegraphy, and its implications for understanding time and history in nineteenth-century France. In Time Machines Richard Taws examines the relationship between art and telegraphy in the decades following the French Revolution. The optical telegraph was a novel form of visual communication developed in the 1790s that remained in use until the mid-1850s. This pre-electric telegraph, based on a semaphore code, irrevocably changed the media landscape of nineteenth-century France. Although now largely forgotten, in its day it covered vast distances and changed the way people thought about time. It also shaped, and was shaped by, a proliferating world of images. What happens, Taws asks, if we think about art telegraphically? Placed on prominent buildings across France—for several years there was one on top of the Louvre—the telegraph’s waving limbs were a ubiquitous sight, shifting how public space was experienced and represented. The system was depicted by a wide range of artists, who were variously amused, appalled, irritated, or seduced by the telegraph’s intractable coded messages and the uncanny environmental and perceptual disruption it caused. Clouds, architecture, landscapes, and gestures: all signified differently in the era of telegraphy, and the telegraph became a powerful means to comprehend France’s technological and political past. While Paris’s famous arcades began to crisscross the city at ground level, a more enigmatic network was operating above. Shifting attention from the streets to the skies, this book shows how modern France took shape quite literally under the telegraph’s sign.

Telegraphic Images in Nineteenth-Century France

Time Machines

Iris Moon

The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture. This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art's modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be post-revolutionary.

Time, Media, and Visuality in Post-Revolutionary France

In revolutionary France the life of things could not be assured. War, shortage of materials, and frequent changes in political authority meant that few large-scale artworks or permanent monuments to the Revolution’s memory were completed. On the contrary, visual practice in revolutionary France was characterized by the production and circulation of a range of transitional, provisional, ephemeral, and half-made images and objects, from printed paper money, passports, and almanacs to temporary festival installations and relics of the demolished Bastille. Addressing this mass of images conventionally ignored in art history, The Politics of the Provisional contends that they were at the heart of debates on the nature of political authenticity and historical memory during the French Revolution. Thinking about material durability, this book suggests, was one of the key ways in which revolutionaries conceptualized duration, and it was crucial to how they imagined the Revolution’s transformative role in history. The Politics of the Provisional is the first book in the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation. Thanks to the AHPI grant, this book is available on a variety of popular e-book platforms.

Richard Taws

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