In the midst of the French Revolution, Jacques David studied in Italy after being born in Paris. He was a well-known advocate for the French Revolution, which solidified his rule over art under the French Republic. David was a staunch supporter of the French Revolution from the beginning, especially following the passing of Socrates and Burt's boys. Marat, the L'Ami du Peuple's principal editor, was assassinated on July 13, 1793, by a young Caen Royalist. The painting was inspired by the sight from his friend's passing. The painting is an idealized form of David’s friend with a bloodied Knife laying on the floor; with a display of a gushing wound (Vaughan & Weston 67). The painting of Jean Paul Marat is considered one of the most famous artwork of the French Uprising.
His style was basically Neoclassical as he championed for rigorous contours, polished surfaces and sculptured form of art. He embraced an empire style with warm ventian colors and combination of academic salon painting. His painting changed the style from Rococo frivolity to classical austerity. In this piece of art, David substitutes iconography for a more contemporary symbolic form. This work of art represented an internment of Christ as a kind of secularized stigmata. David is essentially attempting to find radical martyrs as a replacement of catholic saints. He was trying to pass the message of ‘Martyrs of Freedom’ (Vaughan & Weston 67).
Benjamin West, Death of General Wolfe, 1771
The Death of Genial Wolfe is a world famous 1770 painting by the Anglo-American artist Benjamin West (Clifford 30). It is displayed in oil of in canvas, carved and gilded in pine. The painting depicted the death of the British General James Wolfe after the War of Quebec n 1759. Its surface signified Native American culture that promoted masculinity, honor and courage in the face of war. Perhaps the most important message was the display of the painting as a Christ-like. The west was influenced by the innumerable images of dead Christ in its lamentations and paintings. He was identified as a true martyr and his underscore was compared to Christ’s admirable qualities.
The piece was a landmark representing contemporary historical painting. His naked body is displayed in the opposition section, with overlooking European military dresses in military uniforms. The painting represents Wolfe’s symbolic triumph as presaged by the final British conquest Clifford 38). Following is stunning Wolfe’s triumph in the Battle of Quebec. This painting epitomized heroism and his depiction in ancient drapery conformed to British convention of depicting heroes.
Benjamin embraced embryonic neoclassical movement developing all over Europe at that time; centered in Rome where many painters congregated. Neo-classicism was connected to contemporary political events. His style was characterized by realism, clarity, classical form and structure.
Works Cited
Clifford, Timothy, Michael Gallagher, Helen Smailes, and Duncan Thomson. Benjamin West and the Death of the Stag. National Galleries of Scotland, 2009. Print.
Vaughan, W., & Weston, H. (2000). Jacques-Louis David's Marat. Cambridge: Cambridge University Press.
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