Death of Marat by Jacques-Louis David (Interpretation and Analysis)

Death of Marat
Source: Google Art & Culture Institute 

I wrote a bit about Neoclassical art yesterday, so today I want to chat about the master of the Neoclassical style: Jacques-Louis David.

As I explained yesterday, the Neoclassical style was inspired by Roman and Greek art. The style is characterized by a focus on the human form, interest in mythological subjects, dramatic poses, and a clean, pared down style.

David’s work is closely associated with the French Revolution and the Napoleonic period. As a style, Neoclassicism melded rather well with the ideas of the French revolution. For revolutionaries, the simplicity and grandeur of neoclassical art compared favorably to the lavish decadence of the Rococo style, which was often associated with the aristocracy. Furthermore, the connection to Greek democracy and the Roman republic implied by the style’s classical associations must have seemed eminently appropriate for the emerging French Republic.

Today, I’m going to discuss one of the most famous paintings of the Revolutionary period: David’s Death of Marat.

Jean-Paul Marat was a political leader of the French Revolution, who was famously assassinated while soaking in his bathtub. David’s death portrait of Marat depicts the dead man as part mythological hero and part Christian martyr. His body is draped limply against the side of the tub, the angle of his head reminiscent of depictions of Christ on the cross. The body itself is striking and dramatic: the skin smooth and seemingly flawless, the muscles clearly defined, and the dead man’s arm carefully positioned to display the writing on the paper in his hand.

Although David’s painting purports to be a naturalistic depiction of the death scene, it is in fact carefully composed to position Marat as heroic figure. The political leaders of the French Revolution rejected the Catholic church, which was seen as an ally of the aristocracy. In the absence of religion, figures like Marat became the new saints of the revolutionary pantheon. David’s painting borrows Christian imagery to transform Marat into a symbol of the glory and moral virtue of the revolution.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.