He spent his artistic career commemorating the events of the rebellion in large works that were exhibited in the annual Paris Salon.

[4] Le Blant's last major accomplishment was a large series of drawings, watercolors and paintings of French soldiers on their way home from and departing to the front during the First World War.

[5] His work is in a number of public collections, but primarily in France because the subjects he specialized in did not command great popularity abroad.

[10] French painters of the time were obsessed with realism and so Le Blant collected uniforms, muskets and peasant's clothing to have his models that posed for him wear.

[15] The Revolutionary troops were spread thin in the region, and as the revolt widened the hastily formed Catholic Army of the Vendee managed to capture a number of towns and win a series of pitched battles.

[16] Eventually, through superior numbers and equipment, the forces of the Revolution defeated the rebels, and the campaign to put down the revolt became notoriously savage.

The former renders a good dramatic incident in a serious and well-considered composition, soberly and rather better painted than usual; the latter brings a sly touch of sarcasm and humor.

His ‘Retour du Regiment’ – from the heroic army of the Sambre-et-Meuse we will suppose shows the grimy, ragged and ferocious battalion drawn up for inspection in the public square and idly reviewed by a supercilious crowd of dandies, muscadins and incroyables, each with the dernier cri de la mode and each more absurd than his neighbor.

His works were used as the basis for a series of engravings in Honoré de Balzac's book, Les Chouans which was translated and published in English in 1889.

His last illustration project came in 1924; it was an American book of poetry, In the Hills, written by the wealthy Baltimore art patron and Peace Activist Theodore Marburg (1862–1946).

This painting depicts a group of counter revolutionaries, who were referred to as "les blancs" ("the whites") ambushing the troops of the French Revolution.

In the center of the composition, the troops of the Revolutionary Army have formed themselves into a defensive square and at the bottom, another group of peasants is rushing to attack.

[34] William Walton described the work in his book on the paintings of the Exposition Universelle: “One of the most promising of the manor-born members of the family is M. Julien Le Blant who like Giradet, has a great affection for the incidents of the Civil War in La Vendée, of unhappy memory.

Nothing could be finer in its line than this epic presentation of the imperturbable square battalion of “the blues” making face in all directions against the fierce rush of the stout-hearted peasants, who died for the priests and the king.”[35] Today, "Le Bataillon carré" it is in the collection of the Harold B. Lee Library at Brigham Young University, in Provo, Utah, framed in a huge molding that replicates the original 19th-century frame.

When World War I broke out and rapidly turned into a stalemate, with trench lines across France, Julien Le Blant wanted to go to the front in order to paint daily life for the soldiers.