The Raft of the Medusa, Géricault, 1818-1819, Oil on canvas, Louvre, Paris
“The Raft of the Medusa,” painted by Théodore Géricault in 1818-1819, is a monumental work that stands as a seminal example of history painting in France during the 19th century. Géricault’s masterpiece captures a tragic episode from French naval history, the wreck of the frigate Medusa, and epitomizes the Romantic movement’s emphasis on emotional intensity and social commentary.
Historical Context: The painting depicts the aftermath of the wreck of the Medusa off the coast of Senegal in 1816, where survivors were left adrift on a makeshift raft. Géricault, influenced by a sensationalized firsthand account, chose to portray the human suffering, desperation, and survival instincts of those stranded at sea for thirteen days.
Romanticism and Emotional Impact: As a history painting, “The Raft of the Medusa” aligns with the Romantic movement’s rejection of classical ideals and emphasis on emotion and individual experience. Géricault’s composition is monumental and dramatic, capturing the raw intensity of the human struggle for survival. The painting’s scale and emotional power serve as a testament to the Romantic belief in art’s ability to evoke strong emotions and societal reflection.
Political and Social Commentary: Beyond its dramatic depiction of a maritime disaster, Géricault’s painting also carries a socio-political message. The Medusa incident was marred by incompetence and political corruption, and Géricault used his art to critique these failings. The painting serves as a powerful indictment of the French government’s negligence and highlights broader themes of human suffering and resilience in the face of systemic failures.
Composition and Realism: Géricault’s attention to detail and commitment to realism contribute to the impact of the painting. The carefully rendered expressions, the depiction of the human form, and the stark contrasts of light and shadow all enhance the sense of immediacy and authenticity. The composition, with its pyramidal structure and central focus on a figure waving for rescue, draws the viewer into the heart-wrenching narrative.
Legacy and Influence: “The Raft of the Medusa” has left an enduring mark on the history of art. It exemplifies the shift towards realism and social commentary in history painting and has influenced subsequent generations of artists. Géricault’s bold departure from traditional representations of historical events paved the way for a more nuanced and critical approach to storytelling through visual art.
In conclusion, Géricault’s “The Raft of the Medusa” not only encapsulates the tragic events of the Medusa shipwreck but also exemplifies the evolution of history painting in France during the 19th century. Its emotional power, political undertones, and commitment to realism make it a landmark work that continues to resonate with audiences today.
Political photographs in museums and national art galleries are rare beasts. At least they were for many years prior to an exhibition of photographs depicting life in Britain: Who We Are: Photographing Britain at Tate Britain, London during 2007. On the tenth anniversary, which is more coincidental than pre-arranged, I publish an essay, first written in 2014 as part of my MA in History of Photography. It cultivates the notion that rather than being a rarity, th protest photograph performs a function hitherto not recognised by curators and academics alike. Namely, that the protest photograph is not just a worthy artform for wider recognition by the major galleries and museums, but also one that functions in the same way as the History painting. Examples of history painting include such masterpices as Théodore Géricault’s Raft of the Medusa (1819), Oil on Canvas, that hangs majestically in its own salon in the Musée du Louvre, in Paris. The History painting, as any self respecting art historian knows, is the pinnacle of art, from which all other forms of visual art hang their credentials. To not do so would be considered suicidal!
Given the current political environment, and the constant references to the 1970s, the essay has been reworked for publication and many thanks to my former tutor Dr Patricia de Bello, from Birkbeck School of Art History, London, for the suggestions made to improve the essay’s worth. She has no doubt forgotten that she ever gave me any advise, but what stuck in my mind for the last 4 years, was that the essay would eventually be worthy of publication. I am of course, too old to revisit academia and the pitfalls of journal publication, so I have added it here on my blog for all those readers willing to take time to read it.
Absolutely nothing really, it’s just I haven’t been on here in over a year! Time flies so fast, blink and I missed it! I’ve nearly finished an MA dissertation and that has kept me busy for the last three months, but there’s no excuse really, you can always find time to write something.
I’ve discovered Periscope and it has distracted me from my tasks of recent days. I’m wondering where it is all going. Is this the REAL death of photography, not the death I write about in academia. I don’t think so, I believe the lens is as powerful (pun intended) as it was in the days of Hine documentary photographs or the Farm Administration photographers in the 1930s USA. In fact, I’ll go so far as to say it is more powerful, more politically charged right now than at any time in the last 150 years of the photograph’s existence. It just needs manipulation that’s all. Rant over.
I should finish with a photograph I suspect.
I’ve often wondered ‘who is this old soldier?’
This was the Welling riots of late 1993, when the ANL marched on the BNP, then headquartered in Welling, South London. The police, determined to prevent that happening, stopped them in their tracks about 500 metres from their target. It was never going to happen though, the police lines were so rigid and well defended. Several horse charges later and this is what happens in such chaos. All of a sudden from the midst of chaos came this old gent, resolute and determined to have his say. Holocaust survivor maybe? WWI veteran possibly, but I never saw him again that day to ask him his story. But, his story is every reasonably minded citizen’s story isn’t it? The evil of BNP may have left Welling shortly afterwards, but their doctrine never changed. A broken force in 2015 maybe, but another will emerge from the darkness one day to spout the same racist evil, be assured of that.
Do photos have an indexical reality still? Yes, of course they do, you just need to know how to say it, how to read it and how to broadcast it. Periscope has the hallmarks of a powerful tool for the future, let’s see how it pans out (pun intended again!) and let’s not ruin it this time with some art junkie trying to make money for nothing.
With the extradition of Abu Hamza and four others to the USA for prosecution for alleged terrorist acts, maybe a really bad era for Britain has finally come to an end. It also reminded me of my first experience of Islam in action, so to speak. It was at a Balkans War demonstration in Trafalgar Square, London.
This era was not the finest hours for Western governments given their inability to prevent the slaughter of innocent men, women and children across the Balkans during the early 1990s.
Anyway during the demonstration several of the Muslims started praying. Not something Trafalgar Square had witnessed before I thought. So I started snapping the proceedings.
Maybe Abu Hamza was amongst the demonstrators? His poison certainly spread rapidly during the 1990s Whatever the case, Britain was about to experience some violent and poisonous times culminating in despicable terrorist acts on the streets of London. Hard to believe looking at these peaceful proceedings.
All Photographs circa 1994, during a demonstration against the Balkan war. Copyright the author. Ilford HP4
Upset Gamesmaker heckles David Cameron about the poor in London before being escorted out of the UDAC building. Cameron retorts that politics should be ‘left out’! So why was Cameron there if it was not to gain political points for his road show?
I certainly trust the heckler will still be a Gamesmaker after today. I would not like to think that free speech suffers at the hands of LOCOG. Certainly the shocked faces of his fellow volunteers do not bode well.
David Bond has no recognition today of his Olympic Gold medal (one of only three won by British athletes) whereas his fellow champion, Stewart Morris, has an OBE(awarded for WWII action in Normandy). I don’t even think there is a photograph of David Bond or his co-winner of the Swallow-class Sailing.
This is his sole biography on sports-reference.com:
With the experienced Stewart Morris as helmsman and David Bond as crew, Britain’s entry Firefly won the Swallow class event on the only occasion it was included in the Olympic yachting program. Bond himself was educated at Harrow and served as an aircraftsman in the RAF in the war, after which he worked for the British Aircraft Corporation. He later became a yacht builder in Cornwall.
Is it not time to make amends for our ancestors mistakes?
To place such a creature as Silvio Berlusconi in charge of a major European economy is comical Photo: AP
HD had often noticed how small people make good comedians. Arthur Askey, Ant and Dec, Sid Little (of Large fame), Charlie Drake and so on….so he laughed a lot when this article appeared today(Sunday) adding Berlusconi and Sarkozy to this list of comedians …HD does not normally reprint newspaper stuff, but makes a tiny exception for this Telegraph piece.
‘God: an apology. Several weeks ago, I cited Mr Tony Blair as the finest evidence available to humanity that the deity, contrary to mainstream theological opinion, has an impish sense of humour. Following recent events in Europe, I apologise unreservedly for underestimating Him…’
It would be funny if it was not so serious. The world never relied so heavily on small comedian before, so it’s dangerous it has to rely on such tiny people for its economic success now!
…and tell me, why do these dorks dye their hair so black it’s obvious it is out of the bottle? Argh yes, it’s Grecian 2000, but what good did the Greeks ever do for us?
The blaze that engulfed a Sony DADC warehouse in Enfield could have a catastrophic effect on independent record labels. Photograph: Luke Macgregor/Reuters
I’m too old these days to wander round the streets of London. After many years of street photography I have witnessed and recorded much aggression vented. From the BNP Welling riot of 1993 to the snapping of fast cars going around Brands Hatch racing circuit, it has been recorded on celluloid and now gathers dust in a box somewhere in the spare room.
Today I do not even wander round , after say, 6pm at night the streets of the sleepy place in which I have lived for the last 6 years. Not because I fear a riot breaking out here you must understand. It’s more the fear of not finding my way home again given that dementia could set in at any time as I grey and shrivel up in my old age.
The latest riots on the streets of our cities, observed from the comfort of my armchair and plasma TV screen (bought and paid for with hard earned money I might add), reminds me of two former lives whereby I witnessed both riot and youth dissatisfaction, although not always at the same time.
If you want to know the time ask a policeman. Ilford HP5 400, copyright the author 1993
Firstly the Welling disorder that broke out on the Anti-Nazi League march on the BNP headquarters, then in Welling south east London. Determined to make a stance against the BNP’s overtly racist stance, the ANL planned to march to the doors of the BNL. The police on the other hand, had other ideas. If you ever wondered where the notion of ‘kettling’ came from, look no further than the junction about 200 yards from the BNP building further up a hill to the south. Four roads met and three roads became blocked by police determined to not allow the marchers to move any other way than back to their coaches to the north of the junction. Even a memorial garden to the west was blocked off with chicken wire put up to deter protesters the opportunity of finding sanctuary from charging police horses. The wire did not last very long and the garden eventually became a medical point for the treatment of the many gashes and scrapes that occurred during police baton charges. Later in the afternoon I was to use this area for my own purposes, namely to escape the house bricks of the anarchists that had infiltrated the march and the counter measures so effectively carried out by the police lines. ‘Take the high ground’ I was once advised and it certainly worked that afternoon.
Whilst reloading the camera I overheard one black youth shout ‘There’s not enough blacks here. If there were more of ‘us’ we could rush the ‘filth’ and break through. Then in what I can only describe as a fit of sarcasm, he proceeded towards one police line to ask a policeman for the time, gesturing wildly to his wrist in the process.
Old Man taking stance against the police line at Welling, London. Copyright the author 1993. Ilford HP5 400
This cat and mouse affair continued for another two or so hours. At one point during a lull in the fighting, an old man appeared from almost nowhere to take his stance against the police lines as missiles were thrown over his head towards the police. Onlookers were in awe of this man who must have been in his 80s. There was a small contingent of holocaust survivors in the ANL march and I can only assume that he was one of them. His defiant look is inspiring.
From this point on I was getting both tired and bored and in addition was down to my last few rolls of film. Something digital cameras do not have to worry about these days. I made my way to the rear to be greeted by more police lines funnelling the marchers through the graveyard to the north of the junction. There was a reason for this. They had set up a film camera to photograph all marchers passing out of the crossroads. They had previously filmed all the photographers and press prior to the confrontation. This became a milestone in covering riots and confrontations with police. On the following Monday police started to call in all the film and still photography for inspection and if I remember it well enough went to court to get some photographers to give up their film.
This was the point at which I decided I would no longer go to such confrontations. I truly thought that it was the start of a slippery slope to a police state. Up till last week however, this had not happened of course, but I was not to know how that would pan out. With the explosion of digital photography, mobile telephones and social networking, there is no way of knowing how right or wrong I was 17 years ago. The jury is out on that one right now.
The second experience that comes to mind following the London riots, is my youth during the early to mid 1960s. The era of mods and rockers. Not that I think there is remotely anything similar in the disturbances that occurred in the 60s to those of the last week or so. What does resonate with me is the feelings of being young in an ever increasing consumer world. I too wanted that pair of Levis, that button-down shirt, that twin vented mohair suit!
The difference is, I would not have had the remotest idea of wanting to loot the local store to obtain them. I knew that saving up was the way to go. Going without, despite the peer pressure, was the norm in our household. Then my parents had gone without many things during World War Two and after with rationing still being applied during the early years of my life too. We had form in that respect.
So when I observe from the comfort of my armchair I am both angry at the violence and saddened at the absence of discipline in some of our urban youths. Wanton looting and destruction cannot be condoned, but at the same time it also has to be understood in the context of today’s environment both culturally and economically. I do not profess to have the answers, but I suggest a long hard look at our recent history will go some way to understanding where we have come from since WWII. We can only be a better society for it in the months and years ahead.
Soon Germany will have to make a decision whether to stay in the Euro or not. Germany is getting economically strong again. A strength historians and others have said would cause security issues across the world again. Be afraid, very afraid.
Today it is reported that racist remarks have once again entered the language of the German economy.
“All Jews share a particular gene, Basques share particular genes, that differentiate them from others.” Thilo Sarrazin, a member of the six-man board at the powerful Bundesbank
Margaret Thatcher once said of the reunification:
“We do not want a united Germany,” she said. “This would lead to a change to postwar borders, and we cannot allow that because such a development would undermine the stability of the whole international situation and could endanger our security.”
