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Joan of Arc: Centuries
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The poster "Joan of Arc," by Haskell Coffin (1878-1941), was commissioned by the United States Treasury Department to urge people to buy war savings stamps. The religious image and the intent of the poster is clear; just as God intervened through Joan to save France centuries before, He would, with America's help, again help His people triumph in France.
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During the Dreyfus Affair, which divided the liberals and conservatives of the Republic in the 1890s, both sides found themselves able to take up Joan of Arc as a figurehead. Dreyfus' defenders, of whom the most prominent was Émile Zola, drew parallels with the anti-Semitism from which Dreyfus had suffered and the way in which the fifteenth-century Church Militant had denounced Joan's activities as witchcraft.
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Just as the 20th century has seen many different portrayals of Joan of Arc in film, earlier centuries envisioned Joan of Arc in many different portrayals in art. Here's a nineteenth century version, from about 1880.
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Two Joans competed in 1999: Leelee Sobieski, supposedly descended from the royal Polish house of Sobieski, took on the role for a TV movie eclipsed in ambition and budget by Luc Besson's labour of love starring Milla Jovovich. Besson never quite seems to light upon one coherent Joan, and Jovovich literally chops and changes to match. How Joan managed to have strawberry blonde highlights in the fourteenth century, or for that matter turn up at the stake as a dead ringer for Lisa Stansfield, is presumably another divine mystery.
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