Medal of Napoleon III: Exposition Universelle of 1855 19th century

Curator: Let's take a look at this medal of Napoleon III, designed by Albert-Désiré Barre in the 19th century. It commemorates the Exposition Universelle of 1855, and it is part of the Met's collection in New York. Editor: What a fascinating face, so stoic and a bit weary, if you ask me. I sense the weight of power in that profile, perfectly captured in this cold, unyielding metal. Curator: Absolutely, the choice of metal as a medium, and the reproducibility of the medal itself, speaks volumes about the desire to circulate power and authority widely. Think of it in relation to printmaking and mass distribution, it’s an interesting insight into social structure. Editor: True. And consider the intimate act of holding this cold, hard power in your hand. Is it worship, or is it assessment? Maybe a little bit of both! Curator: Also, let's not forget the Exposition Universelle itself. It was a grand display of industrial progress and imperial might, so the medal serves not only as a portrait, but as propaganda of Napoleon III’s successful regime. A souvenir almost. Editor: Exactly! This isn't just art; it's history miniaturized, ready to be held in our palms. It does invite one to consider what objects will survive from our own era, speaking silently to future generations. What would our equivalent be, a coin with the face of a tech giant perhaps? Curator: Interesting point! It certainly invites considerations of value, durability and posterity, doesn’t it? Editor: Indeed! So much contained within a simple disc of metal. Curator: Looking at this piece through a materialist lens offers a view on both Napoleon III's self-representation and the socio-political dynamics of 19th century France. Editor: Yes, but letting it spark some introspection offers the question: What tokens do we carry today that reveal who we aspire to be? Food for thought indeed.