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The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, David painted it when he was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his murder by Charlotte Corday on 13 July 1793. Art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".[1]

The Death of Marat
French: La Mort de Marat
ArtistJacques-Louis David
Year1793
MediumOil on canvas
Dimensions162 cm × 128 cm (64 in × 50 in)
LocationRoyal Museums of Fine Arts of Belgium

The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.[2]


The assassination of Marat


Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling with a note promising details about a counter-revolutionary ring in Caen.[citation needed]

Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.[3]

When he was murdered Marat was correcting a proof of his newspaper L'Ami du peuple. The blood stained page is preserved. In the painting the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.[4]

A copy of L’Ami du peuple stained with the blood of Marat
A copy of L’Ami du peuple stained with the blood of Marat

David's politics


The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre. [citation needed] As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires".[citation needed] David was also on the Committee of Public Instruction.[5]


Style


Detail of The Death of Marat showing the paper held in Marat's left hand. The letter reads Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance which means Given that I am unhappy, I have a right to your help
Detail of The Death of Marat showing the paper held in Marat's left hand. The letter reads "Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance" which means "Given that I am unhappy, I have a right to your help"

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works.[citation needed] David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.[citation needed]

David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.[6]


Later history


Charlotte Corday by Paul Jacques Aimé Baudry, painted 1860.
Charlotte Corday by Paul Jacques Aimé Baudry, painted 1860.
One of two versions of Death of Marat made by Edvard Munch in 1907
One of two versions of Death of Marat made by Edvard Munch in 1907

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror. [citation needed] From 1795 to David's death, the painting languished in obscurity. During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. [citation needed]

There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845.[7] In the 20th century, David's painting inspired several artists (including Pablo Picasso, Edvard Munch, and Paul Jacques Aimé Baudry), poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).[citation needed] Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.[8]

The letter that appears in the painting, with bloodstains and bath water marks still visible, has survived and is owned by Robert Lindsay, 29th Earl of Crawford.[9]




Footnotes


  1. Clark, T. J. (2001). Farewell to An Idea: Episodes from a History of Modernism. New Haven: Yale University Press. p. 21. ISBN 9780300089103.
  2. "Site officiel du musée du Louvre". cartelfr.louvre.fr. Retrieved 23 September 2020.
  3. Greenhalgh, Michael (1989). "David's 'Marat Assassiné' and Its Sources". The Yearbook of English Studies. 19: 162–180. doi:10.2307/3508048. ISSN 0306-2473. JSTOR 3508048.
  4. Greenhalgh, Michael (1989). "David's 'Marat Assassiné' and Its Sources". The Yearbook of English Studies. 19: 163. doi:10.2307/3508048. ISSN 0306-2473. JSTOR 3508048.
  5. Wildenstein, pp. 43–59.
  6. Smarthistory, David's Death of Marat, accessed 28 December 2012
  7. Greenhalgh, Michael (1989). "David's 'Marat Assassiné' and Its Sources". The Yearbook of English Studies. 19: 162–180. doi:10.2307/3508048. ISSN 0306-2473. JSTOR 3508048.
  8. "A Modern Marat". The Wall Street Journal. 16 October 2010.
  9. The Earl of Crawford has the largest collection of French revolutionary manuscripts in Scotland.
  10. Nabokov, Vladimir (2012). Lolita. UK: Penguin. ISBN 9780141391601.
  11. Mills, Mike (21 September 2018). "Which Michael references in the song "We Walk".https://twitter.com/REMLyrics1/status/1043225539794948102 …".

Bibliography



На других языках


[de] Der Tod des Marat

Der Tod des Marat ist ein Gemälde von Jacques-Louis David (1748–1825). Es wurde im Sommer und Herbst 1793 im klassizistischen Stil in Öl auf Leinwand gemalt und misst 162 mal 128 cm. Es ist eine der berühmtesten Darstellungen von Ereignissen der Französischen Revolution.
- [en] The Death of Marat

[es] La muerte de Marat

La muerte de Marat (en francés La mort de Marat) es una obra de estilo neoclásico, obra de Jacques-Louis David y una de las imágenes más famosas de la Revolución francesa.

[fr] La Mort de Marat

La Mort de Marat (ou Marat assassiné) est un tableau de Jacques-Louis David peint en 1793. Il est conservé aux Musées royaux des Beaux-Arts de Belgique à Bruxelles.

[it] La morte di Marat

La morte di Marat, anche noto come Marat assassinato (La Mort de Marat), è un dipinto a olio su tela (165×128 cm) di Jacques-Louis David, realizzato nel 1793 e conservato nel museo reale delle belle arti del Belgio di Bruxelles.

[ru] Смерть Марата

«Смерть Мара́та» (фр. La Mort de Marat) — картина французского художника Жака Луи Давида. Является одной из самых известных картин, посвящённых Великой Французской Революции.



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