As seen through the various artwork in Paris, the art based in the 18th century is heavily influenced by The French Revolution and the growing radicalism and change being established by the French people. Two of the places I noticed this trend in particular were at Petit Palais and The Louvre. While I was gazing at the artwork, I noticed many distinct connections between the characterization of the French Revolution in the art and in Les Miserables.

Throughout this time of revolution, the French citizens radically altered their political landscape, uprooting centuries-old institutions such as the monarchy and the feudal system. This is what Hugo was describing in his vivid depiction of the French people’s lifestyle including their clothing, physical features, as well as emotions in Les Miserables. One example of this is a painting in Petit Palais by Marie Bracquemond in 1880 which resembles an adult Cosette to me. She is dressed prim and proper with the iconic frills as depicted by French impressionist artist Bracquemond. Coming from the name itself of impressionism, Bracquemond produced such fine work to clearly show what a woman of a higher class might look like. The representation of such people was more likely during the revolutionary time because there was such polarization between the rich and poor.

Historically speaking, the French Revolution started as a way to change the relationship between rulers (rich) and citizens (poor) in an effort to redistribute who was given power and how power was distributed amongst the people. Slowly this developed into the French people against the higher ups which is shown undoubtedly in what is known as the main revolutionary painting in The Louvre, or more officially “Liberty Leading the People”. It is clearly shown in the painting that people of all social classes were fighting for their right to power and to live a life in France. This stuck out when viewing both “Liberty Leading the People” as well as Victor Schnetz’s painting in 1787 at Petit Palais. Both have evidence of strokes of red paint on the men that represent the blood of both the angry men and the fight against the rulers. Additionally, many of the ceilings in the Napolean suites of the Louvre are built similarly to Versailles which gave me a clear image of what it would be like to live lavishly like the rich French people during the revolutionary times. This helped me understand how unfair it was for the poor people who were given little to nothing for their livelihood. Another parallel between these two paintings are that there is a person who appears to be of a lower societal status that is holding the French flag in both paintings; the difference, however, is that in Victor Schnetz’s painting a French man of a higher social class is holding a man of lower status that is bleeding. The blood represents the poor people who have to fight for their lives to be able to survive against the harsh treatment from the rich.

The child standing next to the man holding the flag reminds me of Gavroche. Directly translated from French, Gavroche means “street urchin” which in fact is what the character Gavroche is. He fights along for his freedom as none other than a poor person, a street urchin. Furthermore, the fact that there is a child in the painting could also represent not only Gavroche, but also a hope for the future generations of French children. There is a child in "Liberty Leading the People" as well that is brandishing two guns. Showing two different instances of a child fighting for the revolution in the artwork represents how the revolution is fighting for the next generation. I also found that the symbolism of a young boy fighting alongside the people could be to show the righteous nature of the cause. If a child is influenced enough to take action, the reason must be true and just. There is no clear explanation as to why a young boy seems to be present in these revolutionary painting and Les Miserables, but the representation of Gavroche shows us how children may have tied into the revolution.

Another example of this hope that was so unmistakably shown in the paintings is in Les Miserables itself with Valjean. Myriel rescues Valjean from the prison and essentially gives him a clean slate which he would have never expected. He is given hope for a new future full of love and free from the suffering and injustice he was subject to at the hands of the French upper class. Through these various examples, Hugo and the other artists are able to give us a clear view of what it was like for the people during this chaotic time of revolution, change, and growth. We can see the horror and pride on the faces of the people in the painting. Along with this, in the book, we are able to see the character development in Les Miserables with their stories of hope for the future. This was a fight for the people, for their independence.

One of the other places I found quite fascinating that reminded me of Les Miserables was The Garden of Luxembourg. These Gardens are known for their architecture including beautiful fountains, promenades, sculptures, etc. In Les Miserables, this was where Marius and Cosette met which was really amazing to be able to experience. It felt as thought I was a part of the story and was able to put myself in their shoes.

Another place was the Place de la Bastille prison. Being able to see the prison in its present state was surreal because that was a real prison used during the revolution. Revolutionary prisons and their turmoil were prevalent in both Les Miserables and A Tale of Two Cities. I could imagine how Charles Darnay and Jean Valjean may have felt being locked up in their respective times.

Overall I would say that there are little tokens of Les Miserables sprinkled throughout Paris that I was able to see. It is clear that this was a fight for the people which was accurately depicted in Les Miserables, although it is a fictional story. The examples and descriptions are authentic and being able to see that connection to real life gave me a new perspective that I will cherish as I reflect on this experience.