Jacques-Louis David, The Death of Marat발음듣기
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Jacques-Louis David, The Death of Marat
74문장
100% 한국어
번역 5명 참여
출처 : 칸아카데미
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[Voiceover] We're in Brussels looking at one of Jacques-Louis David's Revolutionary canvases.발음듣기
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His signature is on documents created for the arrest and execution of members of the aristocracy, of people who were against the Revolution.발음듣기
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And he was essentially the Minister of Propaganda, spreading the ideals of the Revolution through images.발음듣기
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The Revolutionary government asked him to produce a series of three images that would heroicize new martyrs.발음듣기
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We have the beginnings of the end of the world of the monarchy, of the the "ancien r?gime", of an absolutist ruler, and the beginnings of a new republic.발음듣기
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[Voiceover] The French Revolution had been inspired, at least in part, by the American Revolution just a few years earlier.발음듣기
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But France would oscillate between republican and royalist governments over the next century.발음듣기
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[Voiceover] A royalist named Charlotte Corday, a woman who believed in the monarchy of absolutist rule, went to see Marat, the leader of the Revolution.발음듣기
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[Voiceover] You can see the knife which she used to stab him lying on the bottom left corner of the canvas.발음듣기
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He was a publisher, so his role in the Revolution was important, because he helped to disseminate revolutionary ideas and to rally the people.발음듣기
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[Voiceover] There is this extreme contrast between her duplicity and his nobility. [Voiceover] He's ideally beautiful.발음듣기
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We know that he was disfigured by the skin disease that caused him to spend many hours of each day in the bath.발음듣기
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[Voiceover] And his pose reminds us of the Piet?, of the image of Christ being mourned having just been taken down from the cross.발음듣기
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So the idea that a martyr to the Revolution is replacing the central Christian martyr is vividly rendered.발음듣기
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This whole replacing of the old world with a new Revolutionary order for a new French republic.발음듣기
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Instead of the older, traditional measurements for example, this is when we first have the more rational metric system being introduced.발음듣기
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[Voiceover] This is the Enlightenment, this is a time of rational thinking, of believing in empirical observation over the superstitions and traditions of the church.발음듣기
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This really interesting contrast between the specificity of the foreground, especially the crate on which he's written his name, and written "? Marat", "To Marat".발음듣기
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Against the indeterminate, open brushwork of the background that almost doesn't look finished.발음듣기
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[Voiceover] But as we look around at other paintings in this museum, what I see in the upper part of a painting are angels.발음듣기
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So instead what we have is a lighter field in the upper right corner balancing Marat's body in the lower left corner. [Voiceover] And what a body.발음듣기
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We can see that neoclassical interest in studying the anatomy, painting it very carefully, paying a lot of attention to contours, modelling in the effects of light and dark.발음듣기
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In direct contrast to the luxurious interiors of Rococo paintings of the lifestyle of the aristocracy, which was the subject of Rococo paintings.발음듣기
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This is a man, David wants to tell us, lived according to the republican ideals of the Revolution.발음듣기
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And so a lot of art historians look at David's career and say, "Where were his actual principles?" [Voiceover] Where were his loyalties?발음듣기
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