The "Citoyenne" Tallien: Women, Politics, and Portraiture during the French Revolution Author(s): Amy Freund Source: The Art Bulletin, Vol. 93, No. 3 (September 2011), pp. 325-344 Published by: CAA Stable URL: https://www.jstor.org/stable/23046580 Accessed: 20-06-2019 15:18 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms CAA is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin This content downloaded from 202.41.10.5 on Thu, 20 Jun 2019 15:18:16 UTC All use subject to https://about.jstor.org/terms The Citoyenne Tallien: Women, Politics, and Portraiture during the French Revolution Amy Freund Revolutionary Paris was awash in portraits. Portraits domi critical gaze of its fellow citizens. The continual communica nated the Salon, filled the print shops, decorated political tion of Republican sentiments, a goal difficult to realize in clubs, and were paraded through the streets in festivals and the flesh, could be attained by a portrait, the permanent funerals. Commissioners eager to redefine themselves in Rev image of the soul or, at least, of the body. olutionary terms flocked to portraitists' studios at a time Revolutionary portraits reveal the ways in which French when patronage for other genres of art production was dry citizens reformulated the basic elements of selfhood at a ing up.