Jacques-Louis David’s “Death of Marat” (1793) Essay

Jacques-Louis David studied photo in capital of Italy where he was able to absorb the classical sprit of Ancient Rome (Fleming, 1995, p. 496). He was influenced by Enlightenment philosophers such as Diderot, and from them, he developed the persuasion that paintings should have a message that points to political and/or social put to death (Fleming, 1995, p. 496). A member of the bourgeoisie, David was personally involved in many new events he organized a festival of the people (July 14, 1790), designed propaganda materials for the Jacobins, voted in support of Louis XVIs execution, and signed execution orders for over three hundred people (capital of Massachusetts College, 2006).David, then, was uniquely positioned to combine ancient values, Enlightenment thought, and revolutionary principles in his paintings. The interest in classical values in the late eighteenth century arose from two sources the discovery of Herculaneum and Pompeii and the rise in popularity of revolutionary ideals. In particular, the Roman Republic was seen to embody a spirit of courage, freedom, and opposition to autocracy that resonated with 18th century revolutionaries in France and the United States ( unnamed, n.d. ) For artists, these neo-classical ideas came in the guise of inquisitive for new flying field-matter. Previously, most artists painted religious, mythological, or allegorical scenes (Anonymous, n. d. ). In toll of subject matter, Davids The Death of Marat is neo-classical in the sense that scene is neither religious, nor mythological, nor allegorical in nature. In fact, the subject is a contemporaneous work out Jean-Paul Marat.The choice of Marat confirms to the revolutionary ideals associated with neo-classicism in that Marat was a prominent leader of the French Revolution who was killed by Charlotte Corday, a member of the opposition (Anonymous, n. d. ). Davids sympathies all the way lie with the Revolution, as he portrayed Marat as a martyr (Anonymous, n. d. ). Marats position in the bath tub, surrounded by materials unavoidable for work (paper, quill, ink) requires some explanation. As he suffered from a skin disease, Marat pass many hours working in his bath (Boston College, 2006).David painted the painting before long after Marats murder on July 13, 1793. Originally asked by the blueprint to paint Marats portrait at the time of his death, David chose to present an see portrait of the man, rather than an authentic depiction of the rapidly decomposing body (Boston College, 2006). David was pass with emotion upon this request from the Convention, as Marat had been his close friend and ally (Annenberg, n. d. ). This painting functions almost like a detective novel all of the clues essential to solve the case are present in the picture.Marats wounds find prominently, there is a bloody poke on the floor, and the paper in Marats go forth hand is a letter his murderer gave to him reasonable before she stabbed him (Annenberg, n. d . ). Though I did not know the background shtup the portrait, I was immediately drawn to this painting because of the serene, yet pained, look on the subjects face. I was intrigued by the fact that the subject appears at first glance to be taking a rest from his work. It is only when when I noticed the red color that I realized that the subject was bleeding.The red blotches on the paper in the subjects left-hand(a) hand seem to indicate that he placed this hand over his wounds before retaking his paper. This color sharply contrasts with the white bath cloths. The knife seems to be an afterthought, tossed aside by the murderer. Without knowing the particulars behind the painting, the viewer is left with many unanswered questions. Who is this Marat that is mentioned on the table by the bath and whose physical body appears on the sheet of paper in the subjects left hand? In short, this painting sparked my curiosity to learn more intimately the incredible story behind the painting .Image ? References Annenberg Media (n. d. ). Art of the Western creation An Age of Reason, An Age of Passion. Retrieved on May 11, 2010 from http//www. learner. org/vod/vod_window. html? pid=233. Anonymous (n. d. ). Lecture Enlightenment and the Romantic Era. Retrieved on May 11, 2010 from http//www. stockton. edu/fergusoc/romantic/romantic. htm Boston College (2006). Jacques-Louis David The Death of Marat. Retrieved May 11, 2010 from http//www. bc. edu/bc_org/avp/cas/his/CoreArt/art/neocl_dav_marat. html Fleming, W. (1995). Arts & Ideas. Ninth edition. citadel Worth Harcourt Brace College Publishers.