Jacques-Louis David's "The Death of Marat" is not just a historical painting; it's a powerful emblem of the French Revolution. In this exploration, we uncover the layers of symbolism within the artwork, examining how each element conveys a message, from the bathtub symbolizing purity to the knife detached from Marat's body signifying his innocence.

We also delve into David's execution of the painting, considering his mastery of Neoclassical style and his portrayal of Marat's physical condition. Additionally, we explore David's unwavering commitment to the revolutionary ideals, both as an artist and an active participant in the tumultuous era. Join us in deciphering the artistry and profound meaning behind "The Death of Marat" in the context of a revolution that reshaped the course of history.

The Painting

The Death of Marat is an oil painting completed by Jacques-Louis David in 1793. It depicts the assassination of Jean-Paul Marat, a leader of the French Revolution. Marat was stabbed to death in his bathtub by Charlotte Corday, a Girondin sympathizer, on July 13, 1793. David chose to memorialize this event in his painting shortly after it occurred.

The Death of Marat shows Marat dead in his bathtub after the assassination. The setting is simple - a rectangular bathtub in a room with a stone floor and wood paneling. Marat's body is slumped over the side of the tub, with his head lying back and his right arm dangling down. A small wooden box serves as a writing desk and holds a bloodstained letter from Corday that lured Marat to his fate. The single knife used to kill Marat rests on the floor near his lifeless hand.

The Artist

The Death of Marat was painted by Jacques-Louis David, one of the most influential French artists of the late 18th and early 19th centuries. David, born in Paris in 1748, received his artistic training under the court painter Joseph-Marie Vien and later served as a court painter to Napoleon before spending his remaining years in exile. He was a staunch advocate of the Neoclassical style and gained fame for his grand, moralistic paintings.

However, David was not only an artist but also a fervent supporter of the French Revolution and an active member of the radical Jacobin faction. His political convictions led him to establish a close friendship with Marat, as they shared similar revolutionary views. Following Marat's tragic assassination, David stepped forward, offering to organize a public funeral for the fallen revolutionary and create a commemorative painting to honor his memory.

The Death of Marat played a pivotal role in solidifying David's reputation as the artistic voice of the French Revolution. His commitment to the revolutionary cause was evident not only in his paintings but also in his active participation in the political events of the era. David's words reflect his profound dedication: "I am making it my duty to answer the noble invitations of patriotism and of glory that will consecrate the history of the most felicitous and most astonishing Revolution." He further emphasized his stance with, "I will never, for the future, paint the portrait of a tyrant until his head lies before me on the scaffold."

This unwavering commitment to the revolutionary ideals and his close association with figures like Marat and Robespierre positioned David as a central figure in both the art and politics of the time.

Historical Context

The Death of Marat was created during the volatile Reign of Terror period of the French Revolution, which unfolded from 1793 to 1794. Marat, a radical revolutionary leader who often advocated for violence against enemies of the Revolution, was assassinated on July 13, 1793.

To provide context, France was grappling with severe economic hardships and deep debt. The monarchy and nobility were deadlocked in their struggle for reform and taxes, particularly land taxes. King Louis XVI, seeking financial reforms, revived the Estates General in 1789 after a hiatus of nearly two centuries.

In France, society was divided into three Estates: the Church, the Nobility, and the Commoners. Discord arose when deciding how voting within the Estates General would function. The traditional single-vote system favored the Church and Nobility, allowing them to protect their power through majority voting. The Third Estate, representing the commoners, pressed for a more equitable voting process.

Amid these tensions, the Third Estate separated and formed the National Assembly in 1789. They invited the other Estates to join but resolved to proceed with change and a new Constitution regardless. They were locked out of the meeting place and convened on a nearby tennis court, where on June 20, 1789, they took the Tennis Court Oath, pledging not to disband until a nation of free citizens replaced a kingdom of subjects.

The pace of change accelerated. The storming of the Bastille on July 14 marked a significant turning point. The Declaration of the Rights of Man and of Citizen was published on August 27. On October 6, women marched to Versailles, bringing the royal family back to Paris. In 1791, the Royal family's failed escape attempt occurred, followed by the outbreak of war in 1792 and the subsequent overthrow of the Monarchy. King Louis XVI faced trial in December and was executed on January 21, 1793.

Following this, the Jacobins, a radical faction of the Revolution, seized power, launching the Great Terror. Despite being labeled a Republic, it functioned as a dictatorship led by the radical reformer Robespierre. By April, the Committee of Public Safety had taken control. In July, Marat was assassinated by Charlotte Corday, a Girondin sympathizer from the countryside, leading to Jacques-Louis David painting his death.

The artwork served as Jacobin propaganda, portraying Marat as a virtuous martyr slain by treacherous counterrevolutionary forces in the midst of the Reign of Terror. David's portrayal of the assassination, with minimal graphic detail, aimed to preserve Marat's dignity and evoke sympathy.

The Subject - Marat

Jean-Paul Marat was a fervent orator and a newspaper editor who wielded his voice and publication to propagate his extreme political beliefs, often fanning the flames of violence against his adversaries. He had a penchant for denouncing and subsequently orchestrating the execution of individuals he labeled as traitors, leading to the demise of countless individuals. His penchant for disseminating conspiracy theories through pamphlets caused his list of accusations to grow, encompassing not only those who opposed the Revolution but also those he perceived as apathetic or insufficiently devoted to the cause.

Marat's unique circumstance included a chronic skin condition, possibly dermatitis herpetiformis, which caused him constant itching. The only relief he found was through immersion in a bath, and he often wore a 'turban' soaked in vinegar to alleviate the discomfort on his scalp. Because of this, he regularly used his bathroom as an office and spent much of his time in his bathtub writing out long lists of suspects to be tried and executed.

Charlotte Corday, blamed Marat for the violence and death faced by moderates. In the same year, she purchased a 5-inch knife and traveled to Paris with the intent to assassinate him. Corday gained entrance to Marat's home on the false pretense of sharing names of counterrevolutionaries, and on July 13, 1793, she stabbed him while he sat defenseless in his bathtub. Marat was hailed as a martyr by Jacobins like David after his murder.

The Angel of Assassination

Charlotte Corday, the assassin, does not appear in David's painting, a factor that contributes to the idealized, almost divine status of Marat's figure. During her trial, Corday, unrepentant, asserted that her action was a means to prevent Marat from further inflaming the Reign of Terror, stating, "I have taken one life to save a hundred thousand," just before her execution by guillotine.

Corday's final request was to have her portrait captured. A National Guard officer named Jean-Jacques Hauer, who had previously sketched the prisoner, produced her likeness in the hours leading up to her execution.

In the subsequent decades, public opinion regarding the Revolution and the Death of Marat underwent changes. David had to conceal the painting when he was exiled to Brussels. Meanwhile, Corday continued to serve as the subject of various paintings and poems, often portraying her as a heroic figure. By the mid-19th century, she had earned the moniker "Angel of Assassination."

Symbolism and Meaning

The Death of Marat is filled with symbolism carefully constructed by David to lionize Marat and assign meaning to his death.

• Bathtub: The setting of a simple bathtub evokes ideas of baptism and purity, showing Marat in a Christ-like pose as a political martyr.

• Letter in Hand: The letter from Corday is meant to literally depict how she lured him to his death, while also symbolizing the deceitful treachery of Marat's enemies that the Jacobins believed led to his assassination. Although the letter never existed, the one featured in this painting reads the following: "July 13, 1793. Marieanne Charlotte Cordray to Citizen Marat. Because I am unhappy I have the right to call on your goodwill." - insinuating that Marat kept his home open to redress grievances.

• Letter on Stand: Atop the crude crate, which serves as his makeshift desk (another element of propaganda), instead of the customary grim lists of individuals marked for execution, there lies a letter, purportedly penned by him, instructing the allocation of funds to a widow of a soldier who valiantly laid down his life for 'La Patrie,' leaving behind a family of five children. It is, in essence, another fabricated instance of sentimental deception.

• Knife: The placement of the knife on the floor detached from Marat's body indicates that he is innocent and accepts his fate, having fallen victim to Corday's vicious plot.

• Quill: the quill pen serves as a symbol of Marat's tireless work writing and publishing for the good of the Revolution, cut short by his untimely death.

• Wooden Floor: Even the wood paneling has been interpreted as a sign of Marat's simple, modest Republican values and humble beginning.

• Pose: In his posture, his head gently reclines, and his countenance is enveloped in a gentle, radiant illumination. A serene, almost heavenly smile graces his lips as he exhales his final breath. Both his stance and the wound from the knife, situated just beneath his collarbone, evoke images reminiscent of paintings portraying Jesus shortly after his descent from the crucifixion.

• Clear Skin: Despite Marat’s known itching skin condition - he is depicted here with clear skin free of scratches and blisters. This shows that David did not paint an accurate portrayal of Marat, but a likeness of him which favors idealism.

• “A Marat, David”: Beneath his signature, David included the year "Deux," or two, from the new revolutionary calendar, symbolizing his unwavering commitment to this era of profound change and upheaval. This change was not just a shift in dates but a fundamental transformation of the social, political, and religious landscape of France. The adoption of a new calendar was a symbolic act of breaking away from the old order, including the traditional religious institutions, and embracing the revolutionary ideals that sought to reshape the very fabric of French society.

Overall, the painting presents a carefully constructed narrative of Marat's virtue and Corday's villainy.

Artist's Execution

David utilizes his considerable talents to vividly bring this pictorial tribute to life. The composition draws the viewer's focus right to the limp dead body of Marat. David softens Marat's features, making him appear at peace to gain more sympathy. He places Marat in a gracefully curving pose that mimics traditional artistic depictions of Jesus Christ. Dramatic light accentuates the textured muscles and cloth wraps covering Marat's deteriorating skin condition.

The details throughout the work showcase David's flawless Neoclassical technique. Marat's flesh is painted with an unbelievable sheen and texture. The reflection of light on the knife blade is exquisite. Every fold, crease, and volume of the fabrics wrapped around Marat is perfectly depicted with a nuanced handling of light and shadow. David's skill in translating this narrative event into a striking and emotive painting is on full display.

Conclusion

The Death of Marat remains one of David's most famous works for good reason. It expertly utilizes Neoclassical style to depict a critical revolutionary martyrdom, packed with symbolic meaning tailored to its time period. David's considerable talent brings the drama to life and idealizes Marat in a way that powerfully communicated the perspectives of radical Jacobins in 1793. The painting stands as a masterwork of David's career and 18th century French art more broadly.