Titlebook: Battlefield Emotions 1500-1800; Practices, Experienc Erika Kuijpers,Cornelis van der Haven Book 2016 The Editor(s) (if applicable) and The

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ABHOR

Deflecting the Fire of Eighteenth-Century French Battle PaintingThe differing fortunes of the battle painter Jacques Gamelin and the history painter Jacques-Louis David at the time of the French Revolution indicate that, when the newly founded French nation first went to war, the depiction of battlefield emotion did not, as yet, incorporate the changed emotional culture of the modern-day battle scene.

富饒

Picturing Valenciennes: Philippe-Jacques de Loutherbourg and the Emotional Regulation of British Military art in the 1790s sought to regulate the emotional responses of civilians to visual representations of the Allied war against revolutionary France. The essay includes discussion of large-scale paintings by William Hodges painted in the same period intended to arouse anti-war sentiment.

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BRINK

https://doi.org/10.1007/978-3-322-85719-4ness to a wider range of emotional responses to the battlefield experience than the normative ones defined in propagandistic images. Close attention to the incidental details of contemporary accounts can be most revealing of the full range of battlefield emotions.

OATH

Magical Swords and Heavenly Weapons: Battlefield Fear(lessness) in the Seventeenth Centurydierly fear. ‘Battlefield Fear(lessness)’ begins and concludes with an interpretation of the controversy about the magical sword Gustavus Adolphus of Sweden purportedly carried in the Battle of Lützen.