Perhaps this ever-changing movement
of the times influenced the Romantic style, which often included diagonal
design, twisting figures, strong emotion, and dramatic use of light. We see this best in Théodore Géricault's
masterpiece, The Raft of the Medusa.
This painting, produced in 1819, signaled the birth of a new art style
in France.
The Raft of the Medusa was based on
a real event in which a French ship, the Medusa,
wrecked and was abandoned by her crew.
Those crewmembers who could not fit into the inadequate lifeboat quickly
built a raft of their own and escaped the sinking vessel. These men (some estimated 149 passengers)
drifted at sea for almost two weeks without food or clean drinking water. When they were finally found, there were only
15 survivors left. During their two-week
voyage, many of the crew had starved to death, drowned, or committed
suicide. These shipwrecked men were
brought to the very limits of what human nature can bear: starvation,
desolation, dementia. It is reported
that the men even sunk to cannibalism.
Nothing but the most dramatic
depiction of this event could do for a painting—or, at least, such was the way
the great Romantic painter Géricault saw it.
The Raft of the Medusa displays a theatrically staged scene of epic
emotional depth and powerful imagery. We
see naked bodies strewn across the hard wood and tossed against the cold sea,
some discolored with sickness, others faceless, maimed, and
inhuman-looking. One man poises against
the lifeless corpse of his neighbor, deep in thought, with a hard face that is
covered in shadow, no doubt contemplating the deep questions of human suffering
which such an occasion would generate.
One can see reference to the solemnest of subjects, the Crucifixion, in
the tattered arms that stretch across the raft's wooden boards. Agony, despair, death—this painting is a
gritty tableau of human pain and emotion.
The dramatic lighting sets the mood of our thoughts when we look at
it. A major diagonal (from the lower
left to the upper right of the painting) carries our eyes through the scene,
ranging in between places of despair and hope.
At the upper right we see men looking ahead and stretching their arms
toward something they see on the horizon (probably the rescuing ship). For those men's faces shadowed from our view,
the display of human emotion is expressed in the stormy sea and dramatic sky. Huge, billowing clouds drift across the sky
much as the raft drifts across the surface of the water; and great waves swell
up in fury no doubt equaling the passion of the men through this unimaginable
circumstance. The painting reflects the
style of Rubens and Michelangelo, but it showcases a contemporary event as it
actually happened, rather than a scene from the Classical past. Of course, this image is no realistic
snapshot to be completely trusted. We
can see that Géricault's painting is heavily infused with emotion, but this
emotion is different than propaganda, like the works of David. Romantic emotionalism, unconcerned with
political causes, instead speaks to deeper matters of the heart, the broader
spectrum of human emotion, the pathos
of mankind. All of this is most
archetypally exemplified in Géricault's Raft of the Medusa, making it a staple
work of Romantic art.
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