And the capitalization and disregarding of the feminine,
french romanticism
Imagine a painting over 16 feet high and 23 feet long. Larger than life. (But not entirely unusual for the time, in fact the Red Room of the Louvre is full of extremely oversized paintings such as this.) The Raft of the Medusa is an oil painting by Theodore Géricault, and an incredible piece to behold. Géricault made numerous paintings that are truly a treasure to view, among others that one would skip over quite easily. This piece is often regarded as the number one painting of the French Romanticism movement. Number two is "Liberty leading the People" by Eugene Delacroix. It also resides in the Louvre. A brief critique is here.
To briefly introduce The Raft of the Medusa:
“ Géricault astonished viewers by painting, in harrowing detail, a recent gruesome incident—the aftermath of the 1816 wreck of the French Royal Navy frigate the Medusa. The large canvas vividly portrayed the survivors of the shipwreck adrift and starving on a raft. At least 147 individuals were abandoned on a hastily made raft, and most perished during the 13 days until their rescue. Survivors faced malnutrition, extreme dehydration, and even cannibalism.
The incident caused international controversy, partly due to blame being placed on the inexperienced French captain.The macabre realism and repellant realism shocked audiences, challenging traditional artistic conventions.”
The shipwreck had scandalous political implications in France; The incompetent captain, who gained the position due to connections with the Bourbon Restoration government, fought to save himself and senior officers while leaving lower ranks to die. Géricault’s depiction of the raft and its inhabitants was greeted with hostility by the government because the painting exposed corruption and incompetence within the French establishment.
Géricault’s portrayal of individual suffering, rather than collective drama, was unprecedented.The dead and dying were developed within a dramatic, carefully constructed composition, addressing a contemporary subject with remarkable passion. The virtuosity of drawing and tonalities elevated the painting beyond mere contemporary reportage.
Mixed Reception at the Salon:
"Géricault exhibited the work at the 1819 Salon, an annual exhibition of contemporary French art at the Louvre. While it received a gold medal, many critics decried the grisly subject and repellant realism.
Disappointed by the reception, Géricault took the painting to England in 1820, where it was received as a sensational success."
What made the painting a success?
Three Artistic Elements:
1. Macabre Realism: The painting’s realism is striking. Géricault depicted the survivors’ suffering in harrowing detail, emphasizing their physical and emotional anguish.
2. Epic-Heroic Tragedy: Despite the gruesome subject matter, Géricault elevated the event to epic proportions. The survivors’ struggle becomes a heroic tragedy, emphasizing their resilience.
3. Virtuosity: The technical skill in drawing and tonalities gives the painting great dignity. Géricault’s mastery of light and shadow adds depth and emotional impact.
What made the painting a sensation?
The viewer response, as this painting became a rallying cry against injustice and a call for compassion. The painting’s empathetic portrayal of human suffering resonated with viewers. It evoked compassion, horror, and a sense of shared humanity.
If the painting had taken a different stance—for example, focusing solely on the tragedy without emphasizing resilience—it might not have had the same impact. By capitalizing on empathy, Géricault tapped into universal emotions. A different perspective might have resulted in a less powerful work.
I maintain that the successful reception of this painting is due to the entirely feminine (emotional) depiction of the tragedy. A man has been recognized for his skill, but made successful in his career for utilising a feminine approach while women are not included in the very category or industry. View The Cattle Market or Evening and see what talent Gericault had (and also where it got him.)
At the time of this painting, and the hundreds of years before it and the hundred years that came after it, qualities such as empathy, emotional intelligence, compassion, creativity and passion are labelled “Women’s Qualities” and are considered weakness or oddities in men. They are diminished, the lesser, the weaker, the softer, and not to be sought after nor rewarded. Yet here we hand Géricault a literal medal for approaching subject matter like a woman, without realizing we are awarding him for that. Géricault leaves his place in French Romanticism, remembered throughout history for The Raft of the Medusa, while the other men also chased feminine qualities to fame and art history books to be remembered to this day. We celebrated French Romanticism in the late 18th century as a literary and artistic movement. Deemed largely a reaction against the formality and strict rules of the official neoclassical style, it was also a complete embrace of the feminine perspective and recognition of alternative philosophies. The movement reached its peak in the first part of the 19th century and all throughout, women themselves were not included as artists or contributors.