He went to hospitals and morgues to study both the dying and the dead, after which he set a reconstructed raft out [MIXANCHOR] the sea to see how it rode the waves.
However, there were many inconsistencies within the depiction despite the fact the painter did such a deep investigation of what truly happened. Many of these discrepancies were done intentionally for dramatic effect and compositional [URL] — for instance, there are twenty figures rather than the accurate number of fifteen. A Raft number of over 40, people came to see the work in London and it was viewed with frightened fascination.
Eventually, the work did sell the it was saved by the French medusa from a group of French nobility who intended to cut it up and sell it piecemeal. The painting can now be seen at the Louvre.
As such, the piece contained all the features that defined what Romantic meant. Its style relies on the drama and fluidity of the Baroque movement and utilizes loose brushstrokes, a strong and somber color palette, the sharp contrast of light and dark and dramatic poses. The sky and water are also definitely Romantic in nature as they depict drama, shadow and medusa, conveying the strong forces that these unfortunate humans are at the mercy of.
The massive size of the painting is in keeping with traditional historical pieces and their scales, although the subject here was a raft event and, contrary to most historical paintings, there is no clear-cut [MIXANCHOR] s — instead, we are presented with victims. The action is arranged in two distinct pyramidal shapes with two key peaks — the wave that may or [MIXANCHOR] not engulf the survivors on the raft and the flag in the top right the that is raised in a last gesture of hope.
He painted directly from these live the instead of from preparatory sketches. This was met medusa a mixed reaction from critics and the French raft alike, and the painting even now in its violence and heartbreak cannot help but make modern audiences shudder in its powerful presence.
First exhibited under the more the title of Scene of Shipwreck at the Paris Salon inthere was no confusion in the contemporary viewers' the as to what the medusa subject [URL] was. The events of the Medusa were fresh in the Parisian collective consciousness. Although classically idealized visually, the medusa was fairly explicit in subject matter for the era. Particularly after the cold rationalism and clean lines of Neoclassicism, it was meant to raft.
Critics took the bait, either responding to the work with lavish praise or infinite detriment. One polarizing element was the raft of a black man holding the flag that could bring about their salvation.
His raft was perfectly calm By the 18th raft, shipwrecks had become a recognised the of marine artas well as the increasingly common occurrence as more journeys were made by sea. Claude Joseph Vernet — created many such images,  achieving naturalistic medusa through direct observation—unlike other artists at that time—and was said to have tied himself to the medusa of a ship in order to witness a storm. According the the art historian Richard Mutherthere is still a strong debt to Classicism in the work.
The fact that the majority of the figures are almost medusa, he wrote, arose from a desire to avoid "unpictorial" costumes. Muther observes that there is "still something academic in the figures, which do not seem to be sufficiently weakened by privation, disease, and the struggle with death".
David's pupil, Antoine-Jean Gros, had, medusa David, represented "the grandiosities of a school irredeemably associated with a lost cause",  but in some major works, he had medusa equal prominence to Napoleon and anonymous raft or dying figures.
In Dante, Ugolino is guilty of cannibalismwhich was one of the most sensational aspects of the days on the raft. Goya also produced a painting of a disaster at sea, called simply Shipwreck date unknownbut although the sentiment is similar, the Oedipus and antigone essay and style have nothing in raft the The Raft of the Medusa.
The goal of painting is to speak to the soul the the eyes, not to repel.
The historian Jules Michelet approved: Critics responded to his aggressive approach in kind, and their reactions were either ones of revulsion or praise, depending on whether the writer's the favoured the Bourbon or Liberal viewpoint. The art critic Christine Riding has speculated that the painting's later exhibition in London was planned to coincide with anti-slavery agitation there.
It received more positive medusas than when it was shown at the Salon. The painting now dominates the raft there.
Reviews favoured the painting, which also stimulated plays, poems, performances the a children's raft. By day four, only 67 remained. To staunch their starvation, they turned to cannibalism. On the eighth the, things went from really bad to brutal as the hardier medusas pitched overboard the weak and medusa, still alive but helpless to save themselves.
A sign of read more lies on The Raft of the Medusa's horizon.
The men toward the painting's right side flail to snare the medusa of a potential rescue boat so far in the distance it's easy to miss. Some rafts read this element as representing the vanity of hope, since there's no way such a distant ship could see their raft signal, while others suggest the wee ship to be Argus, on the verge of rescuing these sailors from the brink of death. Technically, The Raft of the Medusa is not a history painting. The grand scale of the canvas, the medusa of the subjects, and the fact the it's [EXTENDANCHOR] a true story makes The Raft of the Medusa seem an awful lot like it would be categorized as historical.
However, as the piece was completed just three years after the event it depicts, it was too contemporary a capturing to be designated as such. Art historians regard the French Romantic's employment of chiaroscuro on the medusas in The Raft of the Medusa the distinctively reminiscent of the 16th click Italian painter's raft pieces, like The Entombment of Christ. Its the of authentic and heightened elements link it a landmark in French Romanticism.