4Maximilian, a member of the Hapsburg family of Austria, had been installed in power in Mexico by Napoleon III of France as a 'puppet emperor'5 with aim of forcing Mexico to pay its foreign debts and establish a European presence there.6 However, it became a failure miserably, ending with the execution of Maximilian and two of his generals by firing squad on June 19, 1867. It seems Manet was irritated and started work on the depiction of Maximilian's execution soon after the first reports of it had reached Paris at the beginning of July 1867. Correspondingly, impact from their horrible family's 7experience during China's 1966-1967 Cultural Revolution8 and grievance towards Mao Zedong and the Chinese government, the Gao Brothers create works, notably The Execution of Christ, which 'ranges from the political and satirical to questions of material and spiritual spaces, and takes a humanitarian stance that questions the role government and the individual play within contemporary Chinese society since 1985.9' Thus, it can be seen that both of them are critical of the dark reign of the role governments and express their disdain for brutality of significant political incident or war through visual methods ironically, even though they are of different origin and in different period. .
Similarities and differences in visual compositions and tone: .
Since the composition of The Execution of Christ is a direct echo of The Execution of Maximilian as noted above, both depicts the firing squad and the condemned men. In The Execution of Maximilian I, there are 3 victims, who are the Emperor Maximilian (fig. 5) in the center and his two Mexican ally-generals, Mejía on his right and Miramón on his left facing 7 firing squad, and the former – in a show of dignity and loyalty – movingly clasps his hand in their final moment. Also, to a certain extent, the way Manet has set the scene seems oddly detached from the dreadful violence it implies.