The Death Of Marat By Jacques-Louis David

Many attribute the evolution of the French revolution as the catalyst for redirection of the style of artwork from Baroque and Rococo to Neoclassical and Romanticism. Two leading masterpieces that support this aspect are respectively: Jacques-Louis David, Oath of the Horatii, (c. 1784) and Eugène Delacroix, Liberty Leading the People, (c. 1830). As commented in Essential Humanities (2016), the French revolution “in all its heroic glory and grisly destruction” (par. 10) is masterfully portrayed in Delacroix 's personification of liberty. In addition, the summons for commitment to the cause of freedom is classically rendered in David 's vow of victory or death. Within this essay both of these paintings are examined in regards to their connection to the French revolution.

Claude Vignon’s work called David with the Head of Goliath, is an interpretation of the artist Caravaggio’s original masterpiece, which shows art’s familiar paradigm, every painter paints himself. His motivation for creating this piece was from visiting rome in 1610, he was influenced by Caravaggism, which was art inspired in the style of Caravaggio. “Some art historians regard him as a precursor of Rembrandt.” Painted circa 1620-1623, it is an oil on canvas, made in Paris, France, 133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.). “Vignon was a French painter, printmaker and illustrator, and, in 1623, was one of the most respected, productive, and successful artists in France, in which his patrons were king Louis XIII and Cardinal Richelieu.” He was born into a wealthy family and started art lessons when he was a young boy. A theme could be religious rebellion against others who were seen as powerful such as Goliath, and were not fit to be in power.

This painting tells a sad story about a general who is willing to die for his citizens. This story also tells a hopeful story about unity between two completely different civilizations.

It acted as a connection piece to pull Catholics back to their faith. They could place themselves in David’s place and connect with the Church because of his relatable human characteristics. A stylistic change towards the more emotionally intense sculptures and artwork of the time period, was known as “Baroque.” Previous statues had been still, lifeless, and predominately frontal pictures. “David” makes the viewer walk around it, and see it from all angles possible, which creates the feeling of being a spectator, caught in the middle of the conflict being represented. He even enters the boundaries of life by stepping across the platform. For realistic value, Bernini also portrays David in ways that would conform to the contemporary conventions about how a military figure would appear.

French Romanticism developed relatively late because of Neoclassicism being rooted in French art and especially in the society’s structure. Eugène Delacroix’s painting Liberty Leading the People depicts the July Revolution of 1830. Parisian coup d'état resulted in Charles X dethroning and replacement with Louis-Phillipe, the “citizen-king.” Although the painting is historical, it is full of contrasting human emotion, a fundamental characteristic of French Romanticism. In the foreground despair is represented by human death of both sides of the battle. In the central figure, Liberty, an allegorical symbol of freedom, shows grand heroism. Delacroix’s use of brilliant and shocking primary colors opposes classicism’s use of color as subordinate and of subtle modulation. The Death of Sardanapalus by Eugène

As for the painting, you can detect particulars that demonstrates the tragedy of this event. Every person seems to have a face of despair and misery. The use of pathos is demonstrated through the color David used in his illustration. All the colors are very dull and dark, giving the painting a very dreary feel. Similar to the passage, the admiration for Socrates is also reflected by the man sitting next to him as he is looking up to him while the philosopher gives his last words of

When displayed at the Salon of 1795, David’s work was received with a great deal of critical acclaim from both aristocracy and revolutionary. The painting conveys the message of allegiance and self-sacrifice to one’s country. According to the story, the three Horatti brothers are swearing their allegiance to Rome, and defeat Alba and the Curatii. The women grieving in the corner are fated to lose someone they lose no matter which side wins, which speaks to the broader sentiment of the sacrifices that one has to make for their country, even if it means sacrificing your own blood and kin. David’s painting would later ironically serve as the icon for the French Revolution, since he was himself a revolutionary. Despite painting this for the Louis XVI’s court, The Oath of the Horatii ends up subverting the loyalty to the monarchy. The Horatti brothers, like the French revolutionaries, all had to give up something in order to protect the interest of or create a better country for themselves. David’s painting creates an interesting dialogue between the past and present through this aspect of inevitable yet ironic violence that ensues in order to ensure peace and

After Robespierre’s downfall, David was imprisoned and spent the next five years completing The Intervention of the Sabine Women (Lerouge). David wanted to show he was a man of peace, and the reconciliatory theme of The Intervention of the Sabine Women won approval from the French public after the decade long carnage of the French Revolution

In The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis De Sade, Peter Weiss placed a historic revolutionary setting inside of a chaotic insane asylum. Sex and violence dominate revolution, madness blends with reason, and political ideologies battle head-to-head while the plot unfolds. Marat/Sade focuses on a play authored by the Marquis de Sade inside of the play itself. Weiss, writing in the voice of Sade, could not ignore the sexual perversions of the historical figure, which allowed for the shocking violence and sexualization that can be found within the play. Under the inflated political rhetoric among the two leading ideologists, Jean-Paul Marat and the Marquis de Sade, the story is one about the French Revolution. Specifically, Marat/Sade tells the story of the murder of Marat by Charlotte Corday.

This was not an uncommon reaction towards David's art at the time. However, the painting was restored to a place of honor by Baudelaire, who wrote :

The ultimate goal here is to challenge the writer find a definitive reason for the downfall of King David who is said to be a man after God’s own heart.

To add and artistic touch, David also included several of his friends and family as well as himself in the work, located in the room viewing the coronation from up above. He believed that there was no better way to show respect to those he loved than by putting them in his paining. It is important to note that while this was a sacred event in France’s history, it is not one hundred percent historically accurate because Napoleons mother is featured in the paining when in reality she has passed away prior to the crowning. A symbol in the paining are the Regalia spread throughout it. This is showing that the government of France now held the ‘Hand of justice’ after the turmoil of the revolution which Napoleon was deemed the hero

Jean-Paul Marat was an important figure in the French revolution because of his tactful writing style, his callings for more violence, and the legacy he left in the French revolution.

The French Revolution produced countless influential politicians throughout its tumultuous course. As a political figure in the French Revolution, Jean Paul Marat began as a nonentity and became a martyr to the revolutionary patriots of France. His influence is often misconstrued, and sometimes overlooked. Although he was not a political leader like Robespierre, his influence was substantial in that he motivated many people through his writings and powerful personality. Through his involvement with the Cordeliers’ Club and his journal Ami du peuple, started September 1789, Marat was able to express the indignation of the bourgeois class through his hopes for social revolution. His

Marat is a man for the common people, and he lived to enforce justice and equality. French revolutionist, Jean Paul Marat led a life of voicing his opinion despite the consequences. He fought for the equality of people from his younger years all the way to death.