Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016).Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).

Time, Media and Visuality is brilliantly composed and written, with great essays on a wide range of topics that put forward new objects and well as new ideas. It is also excellently illustrated, with a gallery of color plates that represent a kind of alternative art history. And it encourages us to rethink the relationships between art, technology, and politics in other periods of historical turmoil and subsequent (partial and not always successful) restoration.

• List of PlatesList of FiguresNotes on ContributorsAcknowledgmentsIntroduction, Iris Moon (MET Museum of Art, USA) and Richard Taws (UCL, UK)1 Miniature Style, 1789-1815, Jann Matlock (UCL, UK)2 Rupture, Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine’s Napoleon Fan, Iris Moon (MET Museum of Art, USA)3 A Draughtsman’s Contract: Court and Country in the work of Louis Lafitte, Stephen Bann (University of Bristol, UK)4 Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France, Katie Hornstein (Dartmouth University, USA)5 First as Farce, then as Tragedy: Art, Vaudeville and Modern Painting after the French Revolution, Steven Adams (University of Hertfordshire, UK)6 Monsieur Crouton, The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print, Kathryn Desplanque (University of North Carolina at Chapel Hill, USA)7 Medium as Museum: Marie-Victoire Jacquotot’s Porcelain Painting and Post-Revolutionary Fantasies of Preservation, Daniel Harkett (Colby College, USA)8 The Cultural Politics of Fashion and the French Revolution of 1830, Susan L. Siegfried (University of Michigan, USA)9 A Storm is Coming: Georges Michel in the Wind, Richard Taws (UCL, UK)Index

Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016).Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).

Time, Media and Visuality is brilliantly composed and written, with great essays on a wide range of topics that put forward new objects and well as new ideas. It is also excellently illustrated, with a gallery of color plates that represent a kind of alternative art history. And it encourages us to rethink the relationships between art, technology, and politics in other periods of historical turmoil and subsequent (partial and not always successful) restoration.

• List of PlatesList of FiguresNotes on ContributorsAcknowledgmentsIntroduction, Iris Moon (MET Museum of Art, USA) and Richard Taws (UCL, UK)1 Miniature Style, 1789-1815, Jann Matlock (UCL, UK)2 Rupture, Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine’s Napoleon Fan, Iris Moon (MET Museum of Art, USA)3 A Draughtsman’s Contract: Court and Country in the work of Louis Lafitte, Stephen Bann (University of Bristol, UK)4 Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France, Katie Hornstein (Dartmouth University, USA)5 First as Farce, then as Tragedy: Art, Vaudeville and Modern Painting after the French Revolution, Steven Adams (University of Hertfordshire, UK)6 Monsieur Crouton, The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print, Kathryn Desplanque (University of North Carolina at Chapel Hill, USA)7 Medium as Museum: Marie-Victoire Jacquotot’s Porcelain Painting and Post-Revolutionary Fantasies of Preservation, Daniel Harkett (Colby College, USA)8 The Cultural Politics of Fashion and the French Revolution of 1830, Susan L. Siegfried (University of Michigan, USA)9 A Storm is Coming: Georges Michel in the Wind, Richard Taws (UCL, UK)Index

Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016).Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).

Time, Media and Visuality is brilliantly composed and written, with great essays on a wide range of topics that put forward new objects and well as new ideas. It is also excellently illustrated, with a gallery of color plates that represent a kind of alternative art history. And it encourages us to rethink the relationships between art, technology, and politics in other periods of historical turmoil and subsequent (partial and not always successful) restoration.

• List of PlatesList of FiguresNotes on ContributorsAcknowledgmentsIntroduction, Iris Moon (MET Museum of Art, USA) and Richard Taws (UCL, UK)1 Miniature Style, 1789-1815, Jann Matlock (UCL, UK)2 Rupture, Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine’s Napoleon Fan, Iris Moon (MET Museum of Art, USA)3 A Draughtsman’s Contract: Court and Country in the work of Louis Lafitte, Stephen Bann (University of Bristol, UK)4 Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France, Katie Hornstein (Dartmouth University, USA)5 First as Farce, then as Tragedy: Art, Vaudeville and Modern Painting after the French Revolution, Steven Adams (University of Hertfordshire, UK)6 Monsieur Crouton, The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print, Kathryn Desplanque (University of North Carolina at Chapel Hill, USA)7 Medium as Museum: Marie-Victoire Jacquotot’s Porcelain Painting and Post-Revolutionary Fantasies of Preservation, Daniel Harkett (Colby College, USA)8 The Cultural Politics of Fashion and the French Revolution of 1830, Susan L. Siegfried (University of Michigan, USA)9 A Storm is Coming: Georges Michel in the Wind, Richard Taws (UCL, UK)Index