Liberty : Changing Leads

French artists in early nineteenth century could be broadly placed into one of two different camps. The Neoclassically trained Ingres led the first group, a collection of artists called the Poussinists named after the French baroque painter Nicolas Poussin. These artists relied on drawing and line for their compositions. The second group, the Rubenists named in honor of the Flemish master Peter Paul Rubens , instead elevated color over line.

By the time Delacroix was in his mids—that is, by —he was one of the leaders of the ascending French romantic movement. From an early age, Delacroix had received an exceptional education. While a student there, Delacroix was recognized for excellence in both drawing and Classics.

Ripped from the headlines. In , for example, Delacroix exhibited his monumental Massacres at Chios at the annual French Salon. This painting serves as an excellent example of what what Delacroix hoped romanticism could become. Rather than look to the examples of the classical past for a narrative, Delacroix instead looked to contemporary world events for his subject. This "ripped from the headlines" approach was common for many romantic painters. Jacques-Louis David, Oath of the Horatii, oil on canvas, 3.

Whereas David mined a story from more than 2, years ago, Goya instead completed a history painting from the recent past. Tell me more about the Greek War of Independence. In , tens of thousands of Greeks on the Island of Chios were killed or taken into slavery by the Ottomans during the Greek War of Independence Greece was then under the control of the Ottoman Empire.

In Europe, this conflict took on specific symbolic significance: When the monumental canvas the Massacre at Chios is viewed from a short distance, it is clear that the artist placed more effort on his use of color, and employed a fluid open brushwork rather than relying on line and a carefully polished painting surface as the Poussinists were doing.

The subject was topical and exotic, and the artist used color and brushwork to elicit an emotional response from the viewer. Liberty Leading the People. Although Delacroix completed this painting during same year in which the event occurred, it is, at its core, a history painting. Indeed, Delacroix depicts an event from the July Revolution of , an event that replaced the abdicated King Charles X r. Do you hear the people sing?

Liberty Leading the People - Wikipedia

Singing a song of angry men? It is the music of a people. Who will not be slaves again. The first thing a viewer may notice is the monumental—and nude to the waist—female figure. Her yellow dress has fallen from her shoulders, as she holds a bayonetted musket in her left hand and raises the tricolor—the French national flag—with her right.

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This red, white, and blue arrangement of the flag is mimicked by the attire worn by the man looking up at her. She powerfully strides forward and looks back over her right shoulder as if to ensure those who she leads are following. Her head is shown in profile—like a ruler on a classical coin—and she wears atop her head a Phrygian cap, a classical signifier of freedom. This is an important bit of costuming—in ancient Rome, freed slaves were given one to wear to indicate their newly liberated status, and this headwear became a symbol of freedom and liberty on both sides of the Atlantic Ocean during the eighteenth and nineteenth centuries.

Clearly, this figure is not meant to be a portrait of a specific individual, and Delacroix did not mean to suggest that there was a half-naked woman running around carrying a loaded firearm and a flag during the Trois Glorieuses —the Three Glorious Days as it came to be known—of the July Revolution. Instead, she serves as an allegory—in this instance, a pictorial device intended to reveal a moral or political idea—of Liberty. Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet , a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

The French government bought the painting in for 3, francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message.

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After the June Rebellion of , it was returned to the artist. According to Albert Boime ,. It was exhibited briefly in , after the Republic was restored in the revolution of that year, and then in the Salon of In , the painting entered the collection of Palais du Louvre in Paris.

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In —75, the work was the featured work in an exhibit organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibit, entitled French Painting — The Age of Revolution , marked a rare display of the Delacroix painting, and many of the other works, outside France. The large canvas, measuring 2.

It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device. In , it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais , as the starring work in the first tranche of paintings from the Louvre's collection to be installed.

Poussinists vs. Rubenists

An unidentified year-old woman allegedly wrote an inscription "AE" on the painting. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Although Delacroix was not the first artist to depict Liberty in Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne , a symbol of the French Republic and of France in general.

In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistol-wielding boy running over the barricade. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the franc note from to The painting has had an influence on classical music.

George Antheil titled his Symphony No. Liberty Leading the People is considered to be a republican and anti-monarchist symbol, and thus was sometimes criticized, [27] [28] [29] especially by royalists and monarchists. From Wikipedia, the free encyclopedia. Liberty Leading the People". Retrieved 14 May The Rise of the Romantics — Wordsworth, Coleridge, and Jane Austen. Art in an Age of Counterrevolution, — University of Chicago Press. The Private Life of a Masterpiece.

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Archived from the original on 6 January Art in an Age of Civil Struggle, — French painting —, the Age of Revolution. Wayne State University Press. Retrieved 26 February Retrieved 4 December Retrieved 8 February Le Nouvel Observateur in French. Retrieved 7 February