--------Introduction in English--------
The death of mara is a canvas and oil painting created in 1793 by Jacques Louis David, founder of the French neoclassical school of painting, which is now collected in the royal gallery of Belgium.
"Death of marat" deliberately creates a space for the poor. In enclosed in a narrow room, mara in the bathtub, pen in one hand, a hand holding the blood dyed the letter, the upper half of the oil painting brush loose messy, could be a wall, and may only be vague unknown space, representing the eternal nothingness, but that serve as a desk, rough plain wooden case, as if telling the virtue of mara.
By removing all movement, all allegorical figures, and detracting all traces of murder, the painting created a revolutionary icon that became a classic work of the French revolution.
"The death of marat" depicts the stabbing of marat, the jacobin leader killed during the French revolution: marat falls in a bathtub, blood flowing from his chest, and his bloody dagger falls to the ground. Mara's body hung limp to one side, his assassin's letter in his hand, his pen in his right. The wooden cases he examined contained ink bottles and paper. The note read: "on July 13, 1793, Mary Anna charlotte corday addressed to marla, a citizen: 'I' am very unhappy, and hope to receive your charity. That is enough." The note on the chest said: "please give this five-franc note to a mother of five whose husband gave his life for his country."
The creation background
"The death of marat" was written during a turbulent, bloody and great period of change in French history. Louis xvi's France was in the midst of a crisis that was, as usual, set off by a financial crisis, in which France prided itself on funding America's independence, but financial constraints forced the king to raise taxes on the people. To avoid bankruptcy. The nobility and clergy were exempt from taxes, but the poor were left with empty pockets. In 1789, crops failed and prices soared.
On the night of July 13, 1793, Paul mara, a representative of the radical group of the French revolution, was assassinated. On July 14th France convened its national assembly to denounce royalist counter-revolutionary plots. A representative named hiro spoke and called on the painter Jacques Louis David to take up his paintbrush in revenge for marla, so that the enemy could see marla being stabbed and tremble. David is a representative of neo-classicism in French painting, a member of the national assembly, and a member of the people's education committee. After he accepted this task, he immediately went to the scene of the event to learn about the situation, and painted the head of the dead horse, with plaster face mold as the image reference. He also took the dagger left by the assassin and marla's dead tub back to the studio as a basis for his creation.
Corday entered marla's bathroom under the guise of informing marla about the girondins of the conn area. An inquest later recorded that corday had reported 18 girontes to mara, who wrote them down and said the next day they would be arrested and guillotined. At this time corday took out a knife, a knife to assassinate mara, but she did not escape, but quietly waiting for arrest. So the note that marla had at the time was probably the list of 18 people that he was going to execute. So it is reasonable to suspect that the money and letters of condolence on the table, full of charity and warmth, also came from David's fiction rather than fact. After marla's death, Jacques Louis David painted marla's death.
"The death of mara" person in the picture is by kindness, integrity and selfless patriotism beautification, skin color is like a cold stone, the wound in the body, smart, careful, like Jesus on the cross of the wound, and marla seems to have had the charisma of Jesus, at this time the whole picture is filled with the aesthetic feeling of sadness, there seems to be the meaning of religious worship, has a strong persuasive, calm and determined the body seems to show that mara did not die. The painter created a hero who was dead but still alive.
The marla in the painting has lost his ugly face, death makes him comfortable away from the killing, the potion has also seemed to wash away all his SINS, making him become a kind, honest, selfless patriotic man. David wanted all French citizens to see marat, a politician dedicated to the French revolution. He did not describe anything else in the room, not even corday, who was still inside. The empty room seemed to say that marla was still your "friend of the people." David used his pen to immortalize marla's death and to beautify a mad butcher. David visually repaired marla's ulcers from "dermatitis herpetic", preventing viewers from being disgusted by marla's notoriously ugly image; And on marat's hand he wrote a touching letter. Such an artistic creation, intended to create a marla like a saint, arouses hatred of the assassins from the unsuspecting viewer.
The vertical composition of "death of marla" is bright, simple and solemn, omitting all details that are irrelevant to the overall situation and occupying half of the deep and blackening background, which makes people almost breathless. The colour of the dead skin, the yellow of the wooden box, the green of the blanket, the white of the sheet and the paper, all came out in sharp contrast. Marla leaned back in a bathtub, one hand hanging limply out of the tub, the other holding the note, his head thrown back, his face as calm as if he had closed his eyes after a hard day's work, blood pouring from his chest.
The painting function pen is strong and powerful, with realistic depiction of the assassination of the jacobin leader mara. The bleak and gloomy picture is full of tragic colors, expressing a heart-shaking historical moment, reflecting a real revolutionary era with passion and ideals, blood and death. In terms of the technique of creating marat's "sainthood" image, David's overall posture of marat, especially his drooping arms, subtly links the viewer's feelings with the image of Jesus Christ on the cross. As a Catholic country, the image of Jesus Christ at the time of his crucifixion exists in every corner of the Catholic world through various famous or unknown painters, such as Raphael.
Charles Pierre baudelaire, 19th century French modernist poet and critic: the death of marat "there is no pedantry and banality, but there is a soft sentiment and a moving power at the same time. The painting is a shocking play. A very strong expression makes this work one of the wonders of modern art."
Yoo goh Shapiro, former Soviet art critic: the death of marat "paints a fuller picture of a person's life, struggle, social views, and death than a lengthy account might allow."
Author's brief introduction
Jacques Louis David (August 30, 1748 -- December 9, 1825) was a French painter, founder of the classical school, and an art educator. The painting style is rigorous, the technique is exquisite.