Louis XIV´s iconography was an example of sovereignty representation in which the spatial separation and the perfect finishing of figures reflected the social and political organization that produced it. However, outside the Church and the State, aesthetic expressions opposed to transcendental representation were developed all along modern times. At the end of Louis XIV´s reign arose a historical-political discourse that, after revealing the multiple nations which fought under the State, dialectized itself when the Thiers- États, in the process of claiming a totalizing function, resumed to a certain extent the monarchic thesis in which the nation dwells entirely in the person of the king. This movement would explain on the one hand, a certain continuity of the visual discourse of power - from the monarchic to the republican portraits - and, on the other hand, the multiplicity forms of resistance: the May 1968 political posters were the expression of the diverse nations, contestant of the powers and knowledge constituted at that moment, and displayed the desire of social proximity and political renewal, through elements close to the aesthetic of Carnival. In the contemporary transition from a modern sovereignty to an imperial one, a politicalaesthetic crisis between transcendentalism and immanentism subsists. On the one hand, monarchy and imperial aristocracy introduce the transcendental unity through similar aesthetic resources. On the other hand, in the Empire third level, we find aesthetic expresions which fundamentally deviate from the representations of power and which we designate display of potential power from the sociological, political and ontological definition of multitude.