not the "military" as it shows armed civilian revolutionaries of the July Revolution, advancing against the unseen uniformed forces of the government. Turkish atrocities were to remain a recurrent theme in 19th-century painting, especially in former Ottoman territories escaped from the declining empire (often pre-rape scenes treated rather salaciously), and general anti-military sentiments, previously mostly found in prints, were also to emerge regularly in large oil paintings. Military art remained popular during the remainder of the 19th century in most of Europe. French artists such as Ernest Meissonier, Edouard Detaille, and Alphonse de Neuville established military genre painting in the Paris Salon. New forms of military art which developed in the 1850s met considerable opposition from the Royal Academy in the United Kingdom. European artists in a generally academic style who were well known as painters of battle scenes, still often of subjects from the Napoleonic Wars or older conflicts, included Albrecht Adam, Nicaise de Keyser, Piotr Michałowski Antoine Charles Horace Vernet, Emile Jean Horace Vernet, Wilhelm Camphausen and Emil Hünten. The rise of nationalism promoted battle painting in countries such as Hungary (great attention paid to uniforms), Poland (huge forces) and the Czech Lands. Jan Matejko's enormous Battle of Grunwald (1878) reflects Pan-Slav sentiment, showing various Slav forces joining together to smash the power of the Teutonic Knights. The usage of the term "military art" has evolved since the middle of the 19th century. In France, Charles Baudelaire discussed military art, and the impact on it of photography, in the Paris Salon of 1859. A British critic of the Royal Academy exhibition of 1861 observed that In contrast, the British artist Elizabeth Thompson (Lady Butler) explained that she "never painted for the glory of war, but to portray its pathos and heroism." The aftermath of battle was depicted in paintings like Calling the Roll After An Engagement, Crimea, which displayed at the Royal Academy in 1874. This perspective is also seen in Remnants of an Army which showed William Brydon struggling into Jalalabad on a dying horse. Dr. Brydon was the sole survivor of the 1842 retreat from Kabul, in which 16,000 were massacred by Afghan tribesmen. The British market began to develop in the middle of the 19th century. The relations between the state and its military, and the ideologies which are implied in that relationship affected the artwork, the artists and the public perceptions of both artwork