Jacques Louise David and Eugene Delacroix

Both Jacques Louise David and Eugene Delacroix's depictions of Socrates and Sardanapalus' deaths exhibit a great level of vitality and a love of color. Both the similarities and differences between the two works will be covered in this research.
Comparison of the Death of Socrates by Jacques Louis David from 1787 and the Death of Sardanapalus by Eugene Delacroix from 1827
Similar thoughts are expressed in both pieces. This recounts the passing of two outstanding individuals who made a big contribution to humanity. The painters mimic the personas of Socrates and Sardanapalus by employing similar strategies that are influenced by neoclassical enlightenment. The circumstances that surrounded their death are also similar, (Ulrike 5). Delacroix used the vignette style whereby he placed more focus on the center since his work becomes increasingly less defined towards the edges. On the other hand, Jacques represents Socrates at the middle of the image and highlights him with light. He placed him at the center of the image which triggers viewers to focus on it. The two artists tend to attract the attention of the viewers towards the center of the image, although using different tactics.

Both images represent the focus of the death in a similar setting, with the evidence of bed. Delacroix shows that the death of king Sardanapalus took place at the foot of the bed. Similarly, Socrates is seen seated on a couch at the center of the image, with the other figures, which represent his friends surrounding him. However, it is worth noting that the deaths took place in a different manner, whereby Sardanapalus committed suicide while Socrates was given a cup of poisonous hemlock, (O’Neill 1799).

The two artists display their classical training in paying more attention to the detail of the line. It is evident that the brushstrokes were quicker and thicker while painting the other figures unlike when painting the central figures. The brushstrokes are evidently tight and precise in Socrates and Sardanapalus, (David 4).

The two artists employ the same color to show how chaotic the scene was. The red and the yellow color on both images are well placed at the center of the images, where all the actions were taking place. The two main characters are represented with a different color for distinction. Jacques ensures that Socrates is distinguished by painting him with an upright posture, which is supposed to show his willingness to go through death as a way of proving his dedication to his beliefs. The figures that represent his friends are on the other hand slouch, and a bit slanted inwards towards him, as a way of showing their concern to what was about to happen to him, (Fraser 34).

The two images differ in their structure. Delacroix uses an asymmetrical diagonal structure, whereby Sardanapalus is seen lounging on the upper left, and the scene spread diagonally representing his concubines, horses, and eunuchs. On the other hand, Jacques uses a horizontal approach whereby the swirling lines of the composition form a horizontal format.

Conclusion

The two images were painted in a manner that represents professionalism, which could be attributed to the classical training that the two artists had. They express similar themes, which entails the death of two powerful men. However, as discussed earlier, the two artists employ colors and lines differently to bring out the different activities that took place. Socrates death is painted in a way that shows his willingness to die, while the colors on Sardanapalus death’s paint represent the chaos that took place as the eunuchs murdered the concubines and the horses.

























Works Cited

David, Jacques Louis. Jacques-Louis David: New Perspectives. University of Delaware Press,

2006.

Fraser, Elisabeth Ann. Delacroix, art and patrimony in post-revolutionary France. Cambridge

University Press, 2004.

O'Neill, John P. "Eugène Delacroix (1798–1863): Paintings, Drawings, and Prints from North

American Collections."

Ulrike. "Painted Theory of Art:" Le suicide"(1877) by Edouard Manet and the disappearance of

narration." A