Taking the majority of its examples from the Salon of 1872, this article explores the extent to which official intervention was effective in eliminating from the exhibition potentially inopportune representations of the Franco-Prussian War. The withdrawal of a certain number of works deemed to risk offending the Prussians coincided with the very moment the French government was trying to negotiate the departure of occupying enemy troops under the terms of the May 1871 Treaty of Frankfurt. It initiated, or reignited, a debate about censorship during the course of which art criticism was itself politicized. Drawing on information in the Salon catalogue and analysing the reviews of the exhibition which appeared in the Parisian press, the article takes issue with much scholarship to date. In particular, it demonstrates how the interpretation of artistic works on display is inflected by polemical and ideological determinants. What emerges from this is precisely the incipient revanchard discourse which the government had hoped to suppress.

中文翻译：

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“描绘”（和“阅读”）普法战争：1870 年代的政治和艺术批评

本文以 1872 年沙龙的大部分例子为例，探讨了官方干预在多大程度上有效地消除了展览中可能不合时宜的普法战争表现。撤回某些被认为可能冒犯普鲁士人的作品恰逢法国政府试图根据 1871 年 5 月法兰克福条约的条款谈判占领敌军撤离的那一刻。在艺术批评本身被政治化的过程中，它发起或重新点燃了一场关于审查制度的辩论。这篇文章借鉴了沙龙目录中的信息并分析了出现在巴黎媒体上的展览评论，迄今为止，这篇文章受到了很多学术界的关注。特别是，它展示了对展出的艺术作品的解释如何受到争论和意识形态决定因素的影响。由此产生的恰恰是政府希望压制的初期反叛言论。