Gonzalo J. Sánchez is Professor of European History and Humanities at the Juilliard School. Educated at Columbia University, he has published extensively on nineteenth-century French cultural history. Recipient of fellowships from the French Government (Chateaubriand), the American Philosophical Society, and Columbia University, he has been a Visiting Scholar at the Centre national de recherche scientifique and the École des hautes études en sciences sociales, Paris.

“(This book) brings fascinating interdisciplinary and long-term perspectives on ‘prison art’ thus on the experience of carceral life and the political perceptions which it generated, informed by histories of the prison system. It makes a very valuable scholarly contribution and will appeal to a range of academic readers.” – Dr Constance Bantman, Associate Professor in French, University of Surrey

• List of IllustrationsIntroduction: Creative Representation and Carceral Invisibility in French Prisons of the “Long” Nineteenth CenturyChapter 1. Outwitting Disappearance: Revolutionary Artists and The Pre-Modern Topographic PrisonChapter 2. Interregnum: Honoré Daumier and Sainte-PélagieChapter 3. 1848: Revolution of Carceral Invisibility?Chapter 4. Visibility, Representation, and Other Aporias of the Cellular RegimeChapter 5. Captivity after the Commune: Paris, New Caledonia, and Paradoxes of VisibilityChapter 6. Anarchists in Prison: Rupture and Continuity of RepresentationConclusionAcknowledgmentsBibliography

Gonzalo J. Sánchez is Professor of European History and Humanities at the Juilliard School. Educated at Columbia University, he has published extensively on nineteenth-century French cultural history. Recipient of fellowships from the French Government (Chateaubriand), the American Philosophical Society, and Columbia University, he has been a Visiting Scholar at the Centre national de recherche scientifique and the École des hautes études en sciences sociales, Paris.

“(This book) brings fascinating interdisciplinary and long-term perspectives on ‘prison art’ thus on the experience of carceral life and the political perceptions which it generated, informed by histories of the prison system. It makes a very valuable scholarly contribution and will appeal to a range of academic readers.” – Dr Constance Bantman, Associate Professor in French, University of Surrey

• List of IllustrationsIntroduction: Creative Representation and Carceral Invisibility in French Prisons of the “Long” Nineteenth CenturyChapter 1. Outwitting Disappearance: Revolutionary Artists and The Pre-Modern Topographic PrisonChapter 2. Interregnum: Honoré Daumier and Sainte-PélagieChapter 3. 1848: Revolution of Carceral Invisibility?Chapter 4. Visibility, Representation, and Other Aporias of the Cellular RegimeChapter 5. Captivity after the Commune: Paris, New Caledonia, and Paradoxes of VisibilityChapter 6. Anarchists in Prison: Rupture and Continuity of RepresentationConclusionAcknowledgmentsBibliography