And the capitalization and disregarding of the feminine,

french romanticism

The Liberty Leading the People, painted by Eugène Delacroix in 1830, commemorates the July Revolution in France. The scene captures the fervor and spirit of justified revolt against the monarchy. A half-nude female figure dominates the canvas. She strides forward, a bayonet in hand, leading a determined crowd. Her barefoot steps symbolize her connection to the people and the streets of Paris. According to the artist, the woman personifies liberty—a classical symbol used throughout art history. Her yellow dress, loosely tied with red rope, swirls around her body. This attire echoes heroic Greek sculptures.
Delacroix witnessed the violent escalation of protests against restrictive ordinances issued by King Charles X on July 26, 1830. For three days (les Trois Glorieuses), citizens set up barricades, fought the royal army, and raised the Tricolor flag on Notre Dame. Charles X abdicated, and Louis-Philippe became the “Citizen King.” As in many French Romanticist paintings, Delacroix combined realism and idealism in his expressive brushwork. The painting contrasts with neoclassical scenes, creating a more modern depiction of revolution. The painting became an emblem of the July Revolution and justified revolt. In summary, Liberty Leading the People allegedly captures the spirit of rebellion, the struggle for freedom, and the power of collective action.

Liberty’s role as a leader is significant. She rallies the people, flag in hand. The lone female figure becomes a symbol of female exceptionalism—a responsibility that transcends gender equality. The absence of other women in the painting is glaring. In the female experience, a woman can know that the moment victory is achieved, she returns instantly to an object, perhaps one of cultural symbolism or just that of desire and beauty. By focusing solely on Liberty, Delacroix silences the collective power of women. It’s a missed opportunity to depict a more inclusive revolution. The resilience and sacrifice of women often go unrecorded and this painting is no different. Traditional gender roles have often cast women as caretakers, nurturers, and symbols of virtue. By portraying freedom as a woman, artists and writers tap into these existing associations. Artistic representation has long been shaped by the male gaze—the perspective of male artists, writers, and thinkers. When men depict freedom as a woman, it reflects their subjective lens and societal norms and to imagine otherwise is to grant a more than generous virtuosity to Delcroix.

We should view Liberty Leading the People in a feminist critique as it clearly features a woman entirely. If women are not invited to judge or qualify depictions of themselves, we truly do not have permission to own our own image in artistic context. Art history must be challenged, to question the portrayal of women in art, the burden of representation and particularly in this example, the untold stories of those who fought alongside Marianne. Nothing here is liberating for women, not in the 1830's and not in the 2020's. The song remains the same. French Romanticism loves to apply the image of women like stickers for immediate appeal. Is the artist hoping to connect with women viewers? To reflect us back to ourselves? Are women supposed to view Marianne and feel empowered? We are meant to think of how safe and strong we feel when we are bare-breasted and men with weapons are around? I could guess that in all the thousands of women who have looked at this painting in the 194 years it has been on display, not a large percentage of them connected with leadership and bravery when they placed themselves in the place of Marianne. I posit that this painting is for men, who can immediately tie her nudity to vulnerability. It is a shortcut.
As with every painting, I always ask ' How else might this subject have been painted?' and my appreciation of art is deepened because of it. I feel a lot is left to be desired, and much more could have been achieved on this canvas if women were considered as powerful people, not symbols or abstractions.

The Myth of Marianne:

The central figure, Liberty (often associated with Marianne), stands semi-nude, her breasts exposed. While some interpret this as a symbol of courage and vulnerability, others argue that it perpetuates a myth. Marianne, as a national allegory, embodies France. But why must she be partially undressed?

Delacroix’s use of “artistic code” to depict Liberty’s nudity reflects societal norms. Female bodies have long been objectified in art, often serving male desires. The bare breasts may be an artistic convention, but they also reinforce gender stereotypes. Female freedom will always be linked to sexualized imagery. All gaze is aimed very distinctly at Liberty's body, save for that of the young child beside her. Men are looking to a woman and a child to lead the revolution. Some might argue that a vulnerability is expressed in this truth, that the men have fallen (foreground) and are not up to complete the challenge and must look outside themselves for abilities and reasons to continue the fight. The message here is that men can't do it alone? Such self awareness is a man romanticised indeed.