Traditional Blog Topic 7

The Death of Marat is a 1793 painting of a murdered French Revolutionary Leader, Jean-Paul Marat. The painting is by Jacques-Louis David, a famous Neoclassical artist who reacted against the elaborate and aristocratic style of rococo art during the French Revolution. He also served as the Revolutionary art director, emphasising the power of the people over the aristocracy by painting famous martyrs like Marat. Unlike Rococo, Neoclassical art like the Death of Marat uses much more sombre and realistic colours and tones, as well as the use of intense and dramatic chiaroscuro, similar to artists like Caravaggio and Poussin.

The Death of Marat shows the stabbed revolutionary leader lying in a bathtub. the positioning and lighting of the body no doubt signifies his role as a martyr - a respected and saint-like figurehead of the Revolution. The pose of his body resemble's classical art of Jesus on the cross, which is visible in the drape of the arm. Marat had a skin condition in real life, but David has presented him with smooth and unblemished skin to amplify his appearance as a saint. The setting itself is a reflection of the distaste for aristocracy, using simple linen cloths and austere inexpensive colours.

In his hand, Marat holds a letter of assassination. it reads "July 13, 1793. Marieanne Charlotte Cordray to Citizen Marat, Because I am unhappy I have the right to call on your goodwill." This is another propaganda device use in the painting, suggesting that Marat was open to receiving grievances and complaints, painting him as a tolerant and fair leader.

The composition is made up of horizontal and vertical lines, visible in the line of the bathtub and the folds of the cloth underneath his arm. The space above is neutral and does not give much information as to the shape of the room, thus indicating that David solely intended to concentrate on the silhouette of Marat. In addition, the bathtub that Marat has been murdered in represents a stone grave. We are once again reminded of the Classical paintings of Christ, who is depicted as a divine being.

The colours are quite saturated, despite being austere and somber in nature. The pop of red from the blood in the bath alludes to Caravaggio's use of reds, creating an eye-catching area of interest in his works during the classical period. The use of tone is consistent, with smoothly blended areas of paint. This enables us to liken Marat's skin to that of marble, like heroic classical Greek statues.

'The Death of Marat', 1793