The Death of Marat


The Death of Marat is a 1793 painting by Jacques-Louis David of the murdered French revolutionary leader Jean-Paul Marat. It is one of the most famous images of the French Revolution. David was the leading French painter, as well as a Montagnard and a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on 13 July 1793, after his murder by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. J. Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and did not transmute it".

The murder

Marat was one of the leaders of the Montagnards, the radical faction ascendant in French politics during the Reign of Terror until the Thermidorian Reaction. Charlotte Corday was a Girondin from a minor aristocratic family and a political enemy of Marat who blamed him for the September Massacre. She gained entrance to Marat's rooms with a note promising details of a counter-revolutionary ring in Caen.
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.

David's politics

As well as being the leading French painter of his generation, David was a prominent Montagnard, and a Jacobin, aligned with Marat and Maximilian Robespierre. A deputy of the Museum section at the Convention, he voted for the death of the King, and served on the Committee of General Security, where he actively participated in the sentencing and imprisonment of many and eventually presided over the "section des interrogatoires". He was also on the Committee of Public Instruction.

Style

Marat's figure is idealized. For example, the painting contains no sign of his skin problems, his skin appears clean and unblemished. David, however, drew other details from his visit to Marat's residence the day before the assassination: the green rug, the papers, and the pen. David promised his peers in the National Convention that he would later depict their murdered friend invocatively as "écrivant pour le bonheur du peuple". The Death of Marat is designed to commemorate a personable hero. Although the name Charlotte Corday can be seen on the paper held in Marat's left hand, she herself is not visible. Close inspection of this painting shows Marat at his last breath, when Corday and many others were still nearby. Therefore, David intended to record more than just the horror of martyrdom. In this sense, for realistic as it is in its details, the painting, as a whole, from its start, is a methodical construction focusing on the victim, a striking set up regarded today by several critics as an "awful beautiful lie"— certainly not a photograph in the forensic scientific sense and barely the simple image it may seem.
The Death of Marat has often been compared to Michelangelo's Pietà. Note the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.
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. As Christian art had done from its beginning, David also played with multileveled references to classical art. Suggestions that Paris could compete with Rome as capital and mother city of the Arts and the idea of forming a kind of new Roman Republic appealed to French Revolutionaries, who often formed David's audience.

Later history

Widely admired during the Terror whose leaders ordered several copies of the original work, The Death of Marat slowly ceased to be 'frontpage history' after Robespierre's overthrow and execution. At his request, it was returned to David in 1795, himself being prosecuted for his involvement in the Terror as a member of the Committee of General Security. 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 dearest pupil. In 1826, the family tried to sell it, with no success at all. It was rediscovered by the critics in the mid-nineteenth century, especially by Charles Baudelaire whose famous comment in 1846 became the starting point of an increased interest among artists and scholars. In the 20th century, the painting inspired several painters, poets and writers.
The original painting is currently displayed at the Royal Museum of Fine Arts in Brussels, being there as a result of a decision taken by the family to offer it, in 1886, to the city where the painter had lived quietly and died in exile after the fall of Napoleon. Some of the copies made by David's pupils survived, notably visible in the museums of Dijon, Reims, and Versailles. The original letter, with bloodstains and bath water marks still visible, has survived and is currently intact in the ownership of Robert Lindsay, 29th Earl of Crawford.
Other artists have also depicted the death of Marat, sometimes long after the facts, whose works refer or not to David's masterpiece. Among these later works, the Charlotte Corday by Paul Jacques Aimé Baudry, painted in 1860, during the Second Empire, when Marat's "dark legend" was widely spread among educated people, depicts Charlotte Corday as a true heroine of France, a model of virtue for the younger generations. The versions of Picasso and Munch are less trying to refer to the original context in itself than to confront modern issues with those of David, in terms of style. Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.

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