{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/115692"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/115692","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The image of art spoliation in France, 1796–1830","abstract":"Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2024-05-01","abstract_html":"Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2024-05-01","abstract_has_math":false,"creators":["Karrels, Nancy Caron"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["O'Brien, David","Vazquez, Oscar","Crowston, Clare","Rosenthal, Lisa","Warren, Maureen"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022-05","date_published":"2022-05","updated_at":"2026-07-22T22:24:55Z","subjects":["plunder","loot","pillage","France","First Empire","revolution","propaganda","museum","Louvre","Napoleon","Denon","drawing","painting","engraving","porcelain","medal","recueil","visual culture","material culture","cultural property."],"languages":["en","eng"],"rights":["Copyright 2022 Nancy Karrels"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/2142/115692","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["O'Brien, David","Vazquez, Oscar","Crowston, Clare","Rosenthal, Lisa","Warren, Maureen"]},{"key":"dc:creator","label":"Author","values":["Karrels, Nancy Caron"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2022-05","2022-04-15"]},{"key":"dc:type","label":"Dc Type","values":["text","Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["plunder","loot","pillage","France","First Empire","revolution","propaganda","museum","Louvre","Napoleon","Denon","drawing","painting","engraving","porcelain","medal","recueil","visual culture","material culture","cultural property."]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en","eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2022 Nancy Karrels"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://hdl.handle.net/2142/115692"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2024-05-01","The student, Nancy Karrels, accepted the attached license on 2022-04-11 at 16:09.","The student, Nancy Karrels, submitted this Dissertation for approval on 2022-04-11 at 16:35.","This Dissertation was approved for publication on 2022-04-15 at 09:05.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17636 on 2022-11-11 at 12:19:04","This dissertation examines spoliation imagery created by French artists between 1796 and 1830 around France’s systematic plunder of Europe’s art treasures during the Revolutionary and Napoleonic Wars. It argues that concerns over memory and legacy guided many artistic mediations of art pillage and that these blended with other ideas, such as emergent understandings of property rights, to construct a shifting and complex body of art about art looting. Although this genre of illustration never rivalled battle scenes or imperial celebrations as a dominant subject in official art, depictions of the art confiscations and the Louvre Museum’s enrichment proliferated in state propaganda during this period and appeared in both commercial art and art produced for personal consumption. By exploring the ways artists and their patrons recorded, celebrated, and commemorated the capture and transfer of cultural property, this study aims to discern the attitudes and responses of contemporary French artists and arts administrators—the community most directly touched by the spoliations—toward the “cultural conquests” and considers how political imperatives and personal priorities may have driven these sentiments. This project studies works in various media, including painting and drawing, copperplate and woodcut engraving, bronze medals, and porcelain. It explores the production of several artists, including Bertrand Andrieu, Antoine Béranger, Jean Duplessis-Bertaux, François Gérard, Antoine-Jean Gros, Jean-Baptiste Mauzaisse, and Benjamin Zix. Where other valuable analyses of the French pillage of Europe have employed select spoliation images to illustrate textual records of plunder, this study prioritizes illustrated works to illuminate gaps in knowledge where textual sources fall silent. For current-day viewers, the corpus of images in this study offers an important reference for debating the continued presence of plundered cultural property in art museums and the role of artists as witnesses to cultural transitions."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["The image of art spoliation in France, 1796–1830"]}]}],"canonical_facts":{"dc:contributor":["O'Brien, David","Vazquez, Oscar","Crowston, Clare","Rosenthal, Lisa","Warren, Maureen"],"dc:creator":["Karrels, Nancy Caron"],"dc:date":["2022-05","2022-04-15"],"dc:description":["Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2024-05-01","The student, Nancy Karrels, accepted the attached license on 2022-04-11 at 16:09.","The student, Nancy Karrels, submitted this Dissertation for approval on 2022-04-11 at 16:35.","This Dissertation was approved for publication on 2022-04-15 at 09:05.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17636 on 2022-11-11 at 12:19:04","This dissertation examines spoliation imagery created by French artists between 1796 and 1830 around France’s systematic plunder of Europe’s art treasures during the Revolutionary and Napoleonic Wars. It argues that concerns over memory and legacy guided many artistic mediations of art pillage and that these blended with other ideas, such as emergent understandings of property rights, to construct a shifting and complex body of art about art looting. Although this genre of illustration never rivalled battle scenes or imperial celebrations as a dominant subject in official art, depictions of the art confiscations and the Louvre Museum’s enrichment proliferated in state propaganda during this period and appeared in both commercial art and art produced for personal consumption. By exploring the ways artists and their patrons recorded, celebrated, and commemorated the capture and transfer of cultural property, this study aims to discern the attitudes and responses of contemporary French artists and arts administrators—the community most directly touched by the spoliations—toward the “cultural conquests” and considers how political imperatives and personal priorities may have driven these sentiments. This project studies works in various media, including painting and drawing, copperplate and woodcut engraving, bronze medals, and porcelain. It explores the production of several artists, including Bertrand Andrieu, Antoine Béranger, Jean Duplessis-Bertaux, François Gérard, Antoine-Jean Gros, Jean-Baptiste Mauzaisse, and Benjamin Zix. Where other valuable analyses of the French pillage of Europe have employed select spoliation images to illustrate textual records of plunder, this study prioritizes illustrated works to illuminate gaps in knowledge where textual sources fall silent. For current-day viewers, the corpus of images in this study offers an important reference for debating the continued presence of plundered cultural property in art museums and the role of artists as witnesses to cultural transitions."],"dc:format":["application/pdf"],"dc:identifier":["https://hdl.handle.net/2142/115692"],"dc:language":["en","eng"],"dc:rights":["Copyright 2022 Nancy Karrels"],"dc:subject":["plunder","loot","pillage","France","First Empire","revolution","propaganda","museum","Louvre","Napoleon","Denon","drawing","painting","engraving","porcelain","medal","recueil","visual culture","material culture","cultural property."],"dc:title":["The image of art spoliation in France, 1796–1830"],"dc:type":["text","Thesis"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Ph.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:24:55Z"}