Eugene Delacroix. Freedom leading the people to the barricades

In his diary, young Eugene Delacroix wrote on May 9, 1824: “I felt a desire to write on modern subjects.” It was not with a random phrase, a month earlier he wrote down a similar phrase: “I want to write about the subjects of the revolution.” The artist has repeatedly spoken before about his desire to paint in modern themes, but very rarely realized these Desires. This happened because Delacroix believed: “... everything should be sacrificed for the sake of harmony and the real transmission of the plot. We must do without models in paintings. A living model never corresponds exactly to the image that we want to convey: the model is either vulgar or inferior , or her beauty is so different and more perfect that everything has to be changed.”

The artist preferred subjects from novels to the beauty of his life model. “What should you do to find a plot?” he asks himself one day. “Open a book that can inspire, and trust your mood!” And he religiously follows his own advice: every year the book becomes more and more a source of themes and plots for him.

Thus, the wall gradually grew and strengthened, separating Delacroix and his art from reality. The revolution of 1830 found him so withdrawn in his solitude. Everything that just a few days ago constituted the meaning of life for the romantic generation was instantly thrown far back and began to “look small” and unnecessary in front of the enormity of the events that had taken place.

The amazement and enthusiasm experienced these days invade Delacroix's solitary life. For him, reality loses its repulsive shell of vulgarity and everyday life, revealing true greatness, which he had never seen in it and which he had previously sought in Byron’s poems, historical chronicles, ancient mythology and in the East.

The July days resonated in the soul of Eugene Delacroix with a plan new painting. Barricade battles on July 27, 28 and 29 in French history decided the outcome of the political coup. These days, King Charles X, the last representative of the Bourbon dynasty hated by the people, was overthrown. For the first time for Delacroix it was not a historical, literary or oriental subject, but the most real life. However, before this plan was realized, he had to go through a long and difficult path changes.

R. Escolier, the artist’s biographer, wrote: “At the very beginning, under the first impression of what he saw, Delacroix did not intend to depict Liberty among its adherents... He simply wanted to reproduce one of the July episodes, such as the death of d’Arcole.” Yes , then many feats were accomplished and sacrifices were made. The heroic death of d'Arcole is associated with the seizure of the Paris Town Hall by the rebels. On the day when the royal troops were holding the suspension bridge of Greve under fire, a young man appeared and rushed to the town hall. He exclaimed: “If I die, remember that my name is d’Arcole.” He was indeed killed, but managed to attract the people with him and the town hall was taken.

Eugene Delacroix made a pen sketch, which, perhaps, became the first sketch for the future painting. The fact that this was not an ordinary drawing is evidenced by the precise choice of moment, the completeness of the composition, thoughtful accents on individual figures, the architectural background organically fused with the action, and other details. This drawing could really serve as a sketch for a future painting, but art critic E. Kozhina believed that it remained just a sketch that had nothing in common with the canvas that Delacroix painted later.

The artist is no longer satisfied with the figure of d'Arcol alone, rushing forward with his heroic impulse captivating the rebels. Eugene Delacroix conveys this central role to Liberty herself.

The artist was not a revolutionary and he himself admitted it: “I am a rebel, but not a revolutionary.” Politics interested him little, which is why he wanted to depict not a separate fleeting episode (even the heroic death of d'Arcole), not even a separate historical fact, but the nature of the whole event. So, the location of the action, Paris, can be judged only by the piece written in the background of the picture on the right side (in the depths the banner raised on the tower of Notre Dame Cathedral is barely visible), and by the city houses. The scale, the feeling of the immensity and scope of what is happening - this is what Delacroix imparts to his huge canvas and what the depiction of a private episode, even a majestic one, would not provide.

The composition of the picture is very dynamic. In the center of the picture there is a group of armed people in simple clothes, they move towards the foreground of the picture and to the right.

Because of the gunpowder smoke, the area is not visible, nor is it clear how large this group itself is. The pressure of the crowd filling the depths of the picture forms an ever-increasing internal pressure that must inevitably break through. And so, ahead of the crowd, from a cloud of smoke to the top of the taken barricade, a beautiful woman with a tricolor republican banner in right hand and a gun with a bayonet in the left.

On her head is a red Phrygian cap of the Jacobins, her clothes flutter, exposing her breasts, the profile of her face resembles the classical features of the Venus de Milo. This is Freedom full of strength and inspiration, which with a decisive and bold movement shows the way to the fighters. Leading people through the barricades, Freedom does not order or command - it encourages and leads the rebels.

While working on the painting, two opposing principles collided in Delacroix's worldview - inspiration inspired by reality, and on the other hand, a distrust of this reality that had long been ingrained in his mind. Distrust that life can be beautiful in itself, that human images and purely pictorial means can convey the idea of ​​a painting in its entirety. This mistrust dictated to Delacroix the symbolic figure of Freedom and some other allegorical clarifications.

The artist transfers the entire event into the world of allegory, we reflect the idea in the same way as Rubens, whom he idolizes, did (Delacroix told the young Edouard Manet: “You must see Rubens, you must be imbued with Rubens, you must copy Rubens, for Rubens is a god”) in his compositions that personify abstract concepts. But Delacroix still does not follow his idol in everything: Freedom for him is symbolized not by an ancient deity, but by the simplest woman, who, however, becomes royally majestic.

Allegorical Freedom is full of vital truth; in a swift rush it goes ahead of the column of revolutionaries, carrying them along with it and expressing the highest meaning of the struggle - the power of the idea and the possibility of victory. If we did not know that the Nike of Samothrace was dug out of the ground after Delacroix’s death, we could assume that the artist was inspired by this masterpiece.

Many art critics noted and reproached Delacroix for the fact that all the greatness of his painting cannot obscure the impression, which at first turns out to be only barely noticeable. It's about about the clash in the artist’s mind of opposing aspirations, which left its mark even in the completed canvas; Delacroix’s hesitation between a sincere desire to show reality (as he saw it) and an involuntary desire to raise it to the buskins, between the attraction to painting that is emotional, immediate and already established, familiar to the artistic tradition. Many were not happy that the most ruthless realism, horrifying the well-intentioned public art salons, is combined in this picture with impeccable, ideal beauty. Noting as a virtue the feeling of life authenticity, which had never before appeared in Delacroix’s work (and was never repeated again), the artist was reproached for the generality and symbolism of the image of Freedom. However, also for the generalization of other images, blaming the artist for the fact that the naturalistic nudity of the corpse in the foreground is adjacent to the nudity of Freedom.

This duality did not escape both Delacroix’s contemporaries and later connoisseurs and critics. Even 25 years later, when the public had already become accustomed to the naturalism of Gustave Courbet and Jean François Millet, Maxime Ducamp was still raging in front of “Freedom on the Barricades,” forgetting all restraint of expression: “Oh, if Freedom is like this, if this girl with bare feet and bare-chested, running, screaming and waving a gun, then we don’t need her. We have nothing to do with this shameful vixen!”

But, reproaching Delacroix, what could be contrasted with his painting? The revolution of 1830 was also reflected in the work of other artists. After these events, the royal throne was occupied by Louis Philippe, who tried to present his rise to power as almost the only content of the revolution. Many artists who took exactly this approach to the topic rushed along the path of least resistance. For these masters, the revolution, as a spontaneous popular wave, as a grandiose popular impulse, does not seem to exist at all. They seem to be in a hurry to forget about everything that they saw on the streets of Paris in July 1830, and the “three glorious days” appear in their depiction as completely well-intentioned actions of the Parisian townspeople, who were only concerned with how to quickly get a new king to replace the expelled one. Such works include Fontaine’s painting “The Guard Proclaiming Louis Philippe King” or O. Berne’s painting “The Duke of Orleans Leaving the Palais Royal”.

But, pointing out the allegorical nature of the main image, some researchers forget to note that the allegorical nature of Freedom does not at all create dissonance with the other figures in the picture, and does not look as foreign and exceptional in the picture as it might seem at first glance. After all, the rest acting characters in essence and in their role they are also allegorical. In their person, Delacroix seems to bring to the fore those forces that made the revolution: the workers, the intelligentsia and the plebs of Paris. A worker in a blouse and a student (or artist) with a gun are representatives of very specific strata of society. These are, undoubtedly, vivid and reliable images, but Delacroix brings this generalization to symbols. And this allegory, which is clearly felt already in them, reaches its highest development in the figure of Freedom. She is a formidable and beautiful goddess, and at the same time she is a daring Parisian. And nearby, jumping over the stones, screaming with delight and waving pistols (as if directing events) is a nimble, disheveled boy - a little genius of the Parisian barricades, whom Victor Hugo would call Gavroche 25 years later.

The painting “Freedom on the Barricades” ends the romantic period in Delacroix’s work. The artist himself loved this painting very much and made a lot of efforts to ensure that it ended up in the Louvre. However, after the seizure of power by the “bourgeois monarchy,” the exhibition of this painting was prohibited. Only in 1848 was Delacroix able to long time, to exhibit my painting, but after the defeat of the revolution it ended up in storage for a long time. The true meaning of this work by Delacroix is ​​determined by its second name, unofficial: many have long been accustomed to seeing in this picture the “Marseillaise of French painting.”

“One Hundred Great Paintings” by N. A. Ionin, Veche Publishing House, 2002

Ferdinand Victor Eugene Delacroix (1798—1863) — French painter and graphic artist, leader of the romantic movement in European painting.

A revolution always takes you by surprise. You live your life quietly, and suddenly there are barricades on the streets, and government buildings are in the hands of the rebels. And you have to react somehow: one will join the crowd, another will lock himself at home, and the third will depict a riot in a painting

1 FIGURE OF LIBERTY. According to Etienne Julie, Delacroix based the woman's face on the famous Parisian revolutionary - the laundress Anne-Charlotte, who went to the barricades after the death of her brother at the hands of the royal soldiers and killed nine guardsmen.

2 PHRYGIAN CAP- a symbol of liberation (such caps were worn in ancient world freed slaves).

3 BREAST- a symbol of fearlessness and selflessness, as well as the triumph of democracy (the naked chest shows that Liberty, as a commoner, does not wear a corset).

4 LEGS OF FREEDOM. Delacroix's freedom is barefoot - so in Ancient Rome It was customary to depict gods.

5 TRICOLOR- a symbol of the French national idea: freedom (blue), equality (white) and fraternity (red). During the events in Paris, it was perceived not as a Republican flag (most of the rebels were monarchists), but as an anti-Bourbon flag.

6 FIGURE IN A CYLINDER. This is both a generalized image of the French bourgeoisie and, at the same time, a self-portrait of the artist.

7 FIGURE IN BERET symbolizes the working class. Such berets were worn by Parisian printers who were the first to take to the streets: after all, according to the decree of Charles X on the abolition of freedom of the press, most printing houses had to be closed, and their workers were left without a livelihood.

8 FIGURE IN BICORN (DOUBLE CORNER) is a student of the Polytechnic School who symbolizes the intelligentsia.

9 YELLOW-BLUE FLAG- symbol of the Bonapartists (heraldic colors of Napoleon). Among the rebels were many military men who fought in the emperor's army. Most of them were dismissed by Charles X on half pay.

10 FIGURE OF A TEENAGER. Etienne Julie believes that this is a real historical character whose name was d'Arcole. He led the attack on the Grève bridge leading to the town hall and was killed in action.

11 FIGURE OF A KILLED GUARDSMAN- a symbol of the mercilessness of the revolution.

12 FIGURE OF A KILLED CITIZEN. This is the brother of the washerwoman Anna-Charlotte, after whose death she went to the barricades. The fact that the corpse was stripped by looters points to the base passions of the crowd that bubble to the surface in times of social upheaval.

13 FIGURE OF A DYING MAN The revolutionary symbolizes the readiness of the Parisians who took to the barricades to give their lives for freedom.

14 TRICOLOR over Notre Dame Cathedral. The flag over the temple is another symbol of freedom. During the revolution, the temple bells rang the Marseillaise.

Famous painting by Eugene Delacroix "Freedom Leading the People"(known among us as “Freedom on the Barricades”) gathered dust for many years in the house of the artist’s aunt. Occasionally, the painting appeared at exhibitions, but the salon audience invariably perceived it with hostility - they say it was too naturalistic. Meanwhile, the artist himself never considered himself a realist. By nature, Delacroix was a romantic who eschewed “petty and vulgar” everyday life. And only in July 1830, writes art critic Ekaterina Kozhina, “reality suddenly lost the repulsive shell of everyday life for him.” What happened? Revolution! At that time, the country was ruled by the unpopular King Charles X of Bourbon, a supporter of absolute monarchy. At the beginning of July 1830, he issued two decrees: abolishing freedom of the press and granting voting rights only to large landowners. The Parisians could not stand this. On July 27, barricade battles began in the French capital. Three days later, Charles X fled, and the parliamentarians proclaimed Louis Philippe the new king, who returned the people’s freedoms trampled by Charles X (assemblies and unions, public expression of one’s opinion and education) and promised to rule by respecting the Constitution.

Dozens of paintings dedicated to the July Revolution were painted, but Delacroix’s work, due to its monumentality, occupies a special place among them. Many artists then worked in the manner of classicism. Delacroix, according to the French critic Etienne Julie, “became an innovator who tried to reconcile idealism with the truth of life.” According to Kozhina, “the feeling of life authenticity in Delacroix’s canvas is combined with generality, almost symbolism: the realistic nakedness of the corpse in the foreground calmly coexists with the antique beauty of the Goddess of Freedom.” Paradoxically, even the idealized image of Freedom seemed vulgar to the French. “This is a girl,” wrote the magazine La Revue de Paris, “who escaped from the Saint-Lazare prison.” Revolutionary pathos was not in honor of the bourgeoisie. Later, when realism began to dominate, “Liberty Leading the People” was bought by the Louvre (1874), and the painting entered the permanent exhibition.

Description of work

Romanticism replaces the Age of Enlightenment and coincides with the industrial revolution, marked by the appearance steam engine, steam locomotive, steamship and photography and factory outskirts. If the Enlightenment is characterized by the cult of reason and civilization based on its principles, then romanticism affirms the cult of nature, feelings and the natural in man. It was in the era of romanticism that the phenomena of tourism, mountaineering and picnics took shape, designed to restore the unity of man and nature.

1. Introduction. Description of the historical and cultural context of the era.
2- Author's biography.
3- Type, genre, plot, formal linguistic characteristics (composition, material, technique, strokes, color), creative idea paintings.
4- Painting “Freedom on the barricades”).
5- Analysis with modern context (justification of relevance).

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Chelyabinsk State Academy

Culture and Arts.

Semester test based on an artistic painting

EUGENE DELACROIX "FREEDOM ON THE BARRICADES."

Performed by a second-year student of group 204 TV

Rusanova Irina Igorevna

Checked by art teacher O.V. Gindina.

Chelyabinsk 2012

1. Introduction. Description of the historical and cultural context of the era.

3- Type, genre, plot, formal linguistic characteristics (composition, material, technique, strokes, color), creative concept of the picture.

4- Painting “Freedom on the barricades”).

5- Analysis with modern context (justification of relevance).

ART OF WESTERN EUROPEAN COUNTRIES IN THE MIDDLE OF THE XIX CENTURY.

Romanticism replaces the Age of Enlightenment and coincides with the industrial revolution, marked by the appearance of the steam engine, locomotive, steamship, photography and factory outskirts. If the Enlightenment is characterized by the cult of reason and civilization based on its principles, then romanticism affirms the cult of nature, feelings and the natural in man. It was in the era of romanticism that the phenomena of tourism, mountaineering and picnics took shape, designed to restore the unity of man and nature. The image of a “noble savage”, armed with “folk wisdom” and not spoiled by civilization, is in demand. That is, the romanticists wanted to show unusual person in unusual circumstances.

The development of romanticism in painting proceeded in sharp polemics with adherents of classicism. The Romantics reproached their predecessors for “cold rationality” and the lack of “movement of life.” In the 20-30s, the works of many artists were characterized by pathos and nervous excitement; they showed a tendency towards exotic motifs and play of imagination, capable of leading away from the “dull everyday life”. The struggle against frozen classicist norms lasted a long time, almost half a century. The first who managed to consolidate the new direction and “justify” romanticism was Theodore Gericault

Historical milestones defining the development of Western European art in the middle XIX century, there were European revolutions of 1848-1849. and the Paris Commune of 1871. In the largest capitalist countries there is a rapid growth of the labor movement. The scientific ideology of the revolutionary proletariat emerges, the creators of which were K. Marx and F. Engels. The rise in activity of the proletariat arouses the furious hatred of the bourgeoisie, which unites around itself all the forces of reaction.

With the revolutions of 1830 and 1848-1849. The highest achievements of art are connected, the directions of which during this period were revolutionary romanticism and democratic realism. The most prominent representatives of revolutionary romanticism in the art of the mid-19th century. There was the French painter Delacroix and the French sculptor Rude.

Ferdinand Victor Eugène Delacroix (French: Ferdinand Victor Eugène Delacroix; 1798-1863) - French painter and graphic artist, leader of the romantic movement in European painting. Delacroix’s first painting was “Dante’s Boat” (1822), which he exhibited at the Salon.

The work of Eugene Delacroix can be divided into two periods. In the first, the artist was close to reality, in the second, he gradually moved away from it, limiting himself to subjects drawn from literature, history, and mythology. The most significant paintings:

“The Massacre at Chios” (1823-1824, Louvre, Paris) and “Freedom on the Barricades” (1830, Louvre, Paris)

Painting "Freedom on the barricades".

The revolutionary romantic painting “Freedom on the Barricades” is associated with the July Revolution of 1830 in Paris. The artist specifies the scene of action - the Ile de la Cité and the towers of Notre Dame Cathedral loom on the right. The images of people whose social affiliation can be determined both by the character of their faces and by their costumes are also quite specific. The viewer sees rebel workers, students, Parisian boys and intellectuals.

The image of the latter is a self-portrait of Delacroix. Its introduction into the composition once again indicates that the artist feels like a participant in what is happening. A woman walks through the barricade next to the rebel. She is naked to the waist: on her head is a Phrygian cap, in one hand is a gun, in the other is a banner. This is an allegory of Freedom leading the people (hence the second title of the picture - Freedom leading the people). In the growing movement from the depths, the rhythm of raised hands, guns, sabers, in the clouds of gunpowder smoke, in the major-sounding chords of the red-white-blue banner - the brightest spot of the picture - one can feel the rapid pace of the revolution.

The painting was exhibited at the Salon of 1831, the canvas aroused strong approval from the public. The new government bought the painting, but immediately ordered its removal; its pathos seemed too dangerous. However, then for almost twenty-five years, due to the revolutionary nature of the plot, Delacroix’s work was not exhibited.

Currently located in room 77 on the 1st floor of the Denon Gallery in the Louvre.

The composition of the picture is very dynamic. The artist gave a simple episode of street fighting a timeless, epic sound. The rebels rise to the barricade recaptured from the royal troops, and they are led by Liberty herself. Critics saw her as “a cross between a merchant and an ancient Greek goddess.” In fact, the artist gave his heroine both the majestic posture of the “Venus de Milo” and those features that the poet Auguste Barbier, singer of the revolution of 1830, endowed Liberty with: “This is a strong woman with a powerful chest, with a hoarse voice, with fire in her eyes, fast, with a wide stride." Liberty raises the tricolor banner of the French Republic; followed by an armed crowd: artisans, military, bourgeois, adults, children.

Gradually a wall grew and became stronger, separating Delacroix and his art from reality. The revolution of 1830 found him so withdrawn in his solitude. Everything that just a few days ago constituted the meaning of life for the romantic generation was instantly thrown far back and began to “look small” and unnecessary in front of the enormity of the events that had taken place.

The amazement and enthusiasm experienced these days invade Delacroix's solitary life. For him, reality loses its repulsive shell of vulgarity and everyday life, revealing true greatness, which he had never seen in it and which he had previously sought in Byron’s poems, historical chronicles, ancient mythology and in the East.

The July days resonated in the soul of Eugene Delacroix with the idea of ​​a new painting. The barricade battles of July 27, 28 and 29 in French history decided the outcome of the political revolution. These days, King Charles X, the last representative of the Bourbon dynasty hated by the people, was overthrown. For the first time for Delacroix it was not a historical, literary or oriental plot, but real life. However, before this plan was realized, he had to go through a long and difficult path of change.

R. Escolier, the artist’s biographer, wrote: “At the very beginning, under the first impression of what he saw, Delacroix did not intend to depict Liberty among its adherents... He simply wanted to reproduce one of the July episodes, such as the death of d’Arcole.” Yes , then many feats were accomplished and sacrifices were made. The heroic death of d'Arcole is associated with the seizure of the Paris Town Hall by the rebels. On the day when the royal troops were holding the suspension bridge of Greve under fire, a young man appeared and rushed to the town hall. He exclaimed: “If I die, remember that my name is d’Arcole.” He was indeed killed, but managed to attract the people with him and the town hall was taken.

Eugene Delacroix made a pen sketch, which, perhaps, became the first sketch for the future painting. The fact that this was not an ordinary drawing is evidenced by the precise choice of moment, the completeness of the composition, thoughtful accents on individual figures, the architectural background organically fused with the action, and other details. This drawing could really serve as a sketch for a future painting, but art critic E. Kozhina believed that it remained just a sketch that had nothing in common with the canvas that Delacroix painted later. The figure of d’Arcole alone is no longer enough for the artist. rushing forward and captivating the rebels with his heroic impulse.Eugene Delacroix conveys this central role to Liberty herself.

While working on the painting, two opposing principles collided in Delacroix's worldview - inspiration inspired by reality, and on the other hand, a distrust of this reality that had long been ingrained in his mind. Distrust in the fact that life can be beautiful in itself, that human images and purely pictorial means can convey the idea of ​​a painting in its entirety. This mistrust dictated to Delacroix the symbolic figure of Freedom and some other allegorical clarifications.

The artist transfers the entire event into the world of allegory, we reflect the idea in the same way as Rubens, whom he idolizes, did (Delacroix told the young Edouard Manet: “You must see Rubens, you must be imbued with Rubens, you must copy Rubens, for Rubens is a god”) in his compositions that personify abstract concepts. But Delacroix still does not follow his idol in everything: freedom for him is symbolized not by an ancient deity, but by the simplest woman, who, however, becomes royally majestic.

Allegorical Freedom is full of vital truth; in a swift rush it goes ahead of the column of revolutionaries, carrying them along and expressing the highest meaning of the struggle - the power of the idea and the possibility of victory. If we did not know that the Nike of Samothrace was dug out of the ground after Delacroix’s death, we could assume that the artist was inspired by this masterpiece.

Many art critics noted and reproached Delacroix for the fact that all the greatness of his painting cannot obscure the impression, which at first turns out to be only barely noticeable. We are talking about a clash in the artist’s mind of opposing aspirations, which left its mark even in the completed canvas; Delacroix’s hesitation between a sincere desire to show reality (as he saw it) and an involuntary desire to raise it to the buskins, between the attraction to emotional, immediate and already established painting. , accustomed to the artistic tradition. Many were not happy that the most ruthless realism, which horrified the well-intentioned public of art salons, was combined in this picture with impeccable, ideal beauty. Noting as a virtue the feeling of life authenticity, which had never before appeared in Delacroix’s work (and was never repeated again), the artist was reproached for the generality and symbolism of the image of Freedom. However, also for the generalization of other images, blaming the artist for the fact that the naturalistic nudity of the corpse in the foreground is adjacent to the nudity of Freedom.

But, pointing out the allegorical nature of the main image, some researchers forget to note that the allegorical nature of Freedom does not at all create dissonance with the other figures in the picture, and does not look as foreign and exceptional in the picture as it might seem at first glance. After all, the rest of the acting characters are also allegorical in essence and in their role. In their person, Delacroix seems to bring to the fore those forces that made the revolution: the workers, the intelligentsia and the plebs of Paris. A worker in a blouse and a student (or artist) with a gun are representatives of very specific strata of society. These are, undoubtedly, vivid and reliable images, but Delacroix brings this generalization to symbols. And this allegory, which is clearly felt already in them, reaches its highest development in the figure of Freedom. She is a formidable and beautiful goddess, and at the same time she is a daring Parisian. And nearby, jumping over the stones, screaming with delight and waving pistols (as if directing events) is a nimble, disheveled boy - a little genius of the Parisian barricades, whom Victor Hugo would call Gavroche 25 years later.

The painting “Freedom on the Barricades” ends the romantic period in Delacroix’s work. The artist himself loved this painting very much and made a lot of efforts to ensure that it ended up in the Louvre. However, after the seizure of power by the “bourgeois monarchy,” the exhibition of this painting was prohibited. Only in 1848 was Delacroix able to exhibit his painting one more time, and even for quite a long time, but after the defeat of the revolution it ended up in storage for a long time. The true meaning of this work by Delacroix is ​​determined by its second name, unofficial: many have long been accustomed to seeing in this picture the “Marseillaise of French painting.”

The painting is depicted on canvas. It was painted in oil.

ANALYSIS OF THE PICTURE BY COMPARISON OF MODERN LITERATURE AND RELEVANCE.

Own perception of the picture.

On this moment I believe that Delacroix's painting "Freedom on the Barricades" is very relevant in our time.

The theme of revolution and freedom still excites not only great minds, but also the people. Now the freedom of mankind is under the direction of power. People are limited in everything, humanity is driven by money, and the bourgeoisie is at the head.

In the 21st century, humanity has more opportunities to go to rallies, pickets, manifestos, draw and create texts (but there are exceptions if the text is classified as extremism), in which they boldly show their positions and views.

Recently, the topic of freedom and revolution in Russia has also become more relevant than it was before. All this is connected with the latest events on the part of the opposition (the Left Front, Solidarity movements, the party of Navalnov and Boris Nemtsov)

More and more often we hear slogans calling for freedom and a revolution in the country. Modern poets clearly express this in poetry. Example – Alexey Nikonov. His revolutionary rebellion and his position in relation to the entire situation in the country is reflected not only in poetry, but also in his songs.

I also believe that our country needs a revolutionary coup. You can't take away humanity's freedom, put them in shackles and force them to work for the system. A person has the right to choose, freedom of speech, but they are trying to take that away too. And there are no boundaries - you are a baby, a child or an adult. Therefore, Delacroix’s paintings are very close to me, as is he himself.

100 masterpieces of painting. The most famous paintings in the world

...or “Freedom on the barricades” - painting French artist Eugene Delacroix. It seems to have been created in one impulse. Delacroix created the painting based on the July Revolution of 1830, which put an end to the Restoration regime of the Bourbon monarchy.
This is the final assault. The crowd converges on the viewer in a cloud of dust, waving their weapons. She crosses the barricade and breaks into the enemy camp. At the head are four figures in the center - a woman. A mythical goddess, she leads them to Freedom. Soldiers lie at their feet. The action rises in a pyramid, according to two planes: horizontal figures at the base and vertical, close-up. The image becomes a monument. The sweeping touch and sweeping rhythm are balanced. The painting combines accessories and symbols - history and fiction, reality and allegory. Allegories of Freedom are a living and energetic daughter of the people, which embodies rebellion and victory. Dressed in a Phrygian cap, floating on her neck, she brings to mind the revolution of 1789. The flag, a symbol of struggle, unfolds from the back of the blue-white-red. From dark to bright as a flame. Her yellow dress, whose double belt floats in the wind, slides below her breasts and is reminiscent of ancient drapery. Nudity is erotic realism and is associated with winged victories. The profile is Greek, the nose is straight, the mouth is generous, the chin is gentle. An exceptional woman among men, decisive and noble, turning her head towards them, she leads them to final victory. The profile figure is illuminated from the right. Resting on her bare left leg, which protrudes from her dress, the fire of action transforms her. Allegory is the real hero of the struggle. The rifle she holds in her left hand makes her look realistic. On the right, in front of the figure of Liberty, is a boy. The symbol of youth rises as a symbol of injustice. And we remember the character of Gavroche in Victor Hugo’s novel “Les Miserables.” “Liberty Leading the People” was first exhibited at the Paris Salon in May 1831, where the painting was enthusiastically received and immediately bought by the state. Due to the revolutionary plot, the painting was not exhibited in public for the next quarter of a century. In the center of the picture is a woman, symbolizing freedom. On her head is a Phrygian cap, in her right hand is the flag of Republican France, in her left is a gun. The bare chest symbolizes the dedication of the French of that time, who went bare-chested against the enemy. The figures around Liberty - a worker, a bourgeois, a teenager - symbolize the unity of the French people during the July Revolution. Some art historians and critics suggest that in the form of a man in a top hat to the left of main character the artist depicted himself.

In his diary, young Eugene Delacroix wrote on May 9, 1824: “I felt a desire to write on modern subjects.” This was not a random phrase; a month earlier he had written down a similar phrase: “I want to write about the subjects of the revolution.” The artist had repeatedly spoken before about his desire to write on contemporary topics, but very rarely realized these Desires. This happened because Delacroix believed: “... everything should be sacrificed for the sake of harmony and the real transmission of the plot. We must do without models in our paintings. A living model never corresponds exactly to the image that we want to convey: the model is either vulgar, or inferior, or its beauty is so different and more perfect that everything has to be changed.”

The artist preferred subjects from novels to the beauty of his life model. “What should be done to find the plot? - he asks himself one day. “Open a book that can inspire and trust your mood!” And he religiously follows his own advice: every year the book becomes more and more a source of themes and plots for him.

Thus, the wall gradually grew and strengthened, separating Delacroix and his art from reality. The revolution of 1830 found him so withdrawn in his solitude. Everything that just a few days ago constituted the meaning of life for the romantic generation was instantly thrown far back and began to “look petty” and unnecessary in front of the enormity of the events that had taken place.

The amazement and enthusiasm experienced these days invade Delacroix's solitary life. For him, reality loses its repulsive shell of vulgarity and everyday life, revealing true greatness, which he had never seen in it and which he had previously sought in Byron’s poems, historical chronicles, ancient mythology and in the East.

The July days resonated in the soul of Eugene Delacroix with the idea of ​​a new painting. The barricade battles of July 27, 28 and 29 in French history decided the outcome of the political revolution. These days, King Charles X, the last representative of the Bourbon dynasty hated by the people, was overthrown. For the first time for Delacroix it was not a historical, literary or oriental plot, but real life. However, before this plan was realized, he had to go through a long and difficult path of change.

R. Escolier, the artist’s biographer, wrote: “At the very beginning, under the first impression of what he saw, Delacroix did not intend to depict Liberty among its adherents... He simply wanted to reproduce one of the July episodes, such as the death of d’Arcol.” Yes, then many feats were accomplished and sacrifices were made. D'Arcole's heroic death is associated with the seizure of the Paris City Hall by rebels. On the day when the royal troops were holding the suspension bridge of Greve under fire, a young man appeared and rushed to the town hall. He exclaimed: “If I die, remember that my name is d’Arcole.” He was indeed killed, but managed to attract the people with him and the town hall was taken.

Eugene Delacroix made a pen sketch, which, perhaps, became the first sketch for the future painting. The fact that this was not an ordinary drawing is evidenced by the precise choice of moment, the completeness of the composition, thoughtful accents on individual figures, the architectural background organically fused with the action, and other details. This drawing could really serve as a sketch for a future painting, but art critic E. Kozhina believed that it remained just a sketch that had nothing in common with the canvas that Delacroix painted later.

The artist is no longer satisfied with the figure of D’Arcol alone, rushing forward and captivating the rebels with his heroic impulse. Eugene Delacroix conveys this central role to Liberty herself.

The artist was not a revolutionary and he himself admitted it: “I am a rebel, but not a revolutionary.” Politics interested him little, which is why he wanted to depict not a separate fleeting episode (even the heroic death of d’Arcol), not even a separate historical fact, but the nature of the entire event. So, the location of the action, Paris, can be judged only by the piece written in the background of the picture on the right side (in the depths the banner raised on the tower of Notre Dame Cathedral is barely visible), and by the city houses. The scale, the feeling of the immensity and scope of what is happening - this is what Delacroix conveys to his huge canvas and what the depiction of a private episode, even a majestic one, would not provide.

The composition of the picture is very dynamic. In the center of the picture there is a group of armed people in simple clothes, they move towards the foreground of the picture and to the right. Because of the gunpowder smoke, the area is not visible, nor is it clear how large this group itself is. The pressure of the crowd filling the depths of the picture forms an ever-increasing internal pressure that must inevitably break through. And so, ahead of the crowd, a beautiful woman with a tricolor republican banner in her right hand and a gun with a bayonet in her left strode widely from a cloud of smoke to the top of the taken barricade. On her head is a red Phrygian cap of the Jacobins, her clothes flutter, exposing her breasts, the profile of her face resembles the classical features of the Venus de Milo. This is Freedom full of strength and inspiration, which with a decisive and bold movement shows the way to the fighters. Leading people through the barricades, Freedom does not order or command - it encourages and leads the rebels.

When working on the painting, two opposing principles collided in Delacroix’s worldview - inspiration inspired by reality, and on the other hand, a distrust of this reality that had long been ingrained in his mind. Distrust in the fact that life can be beautiful in itself, that human images and purely pictorial means can convey the idea of ​​a painting in its entirety. This mistrust dictated to Delacroix the symbolic figure of Freedom and some other allegorical clarifications.

The artist transfers the entire event into the world of allegory, we reflect the idea in the same way as Rubens, whom he idolizes, did (Delacroix told the young Edouard Manet: “You must see Rubens, you must be imbued with Rubens, you must copy Rubens, for Rubens is a god”) in his compositions that personify abstract concepts. But Delacroix still does not follow his idol in everything: freedom for him is symbolized not by an ancient deity, but by the simplest woman, who, however, becomes royally majestic.

Allegorical Freedom is full of vital truth; in a swift rush it goes ahead of the column of revolutionaries, carrying them along and expressing the highest meaning of the struggle - the power of the idea and the possibility of victory. If we did not know that the Nike of Samothrace was dug out of the ground after Delacroix’s death, we could assume that the artist was inspired by this masterpiece.

Many art critics noted and reproached Delacroix for the fact that all the greatness of his painting cannot obscure the impression, which at first turns out to be only barely noticeable. We are talking about a clash in the artist’s mind of opposing aspirations, which left its mark even in the completed canvas; Delacroix’s hesitation between a sincere desire to show reality (as he saw it) and an involuntary desire to raise it to the buskins, between the attraction to emotional, immediate and already established painting. , accustomed to the artistic tradition. Many were not happy that the most ruthless realism, which horrified the well-intentioned public of art salons, was combined in this picture with impeccable, ideal beauty. Noting as a virtue the feeling of life authenticity, which had never before appeared in Delacroix’s work (and was never repeated again), the artist was reproached for the generality and symbolism of the image of Freedom. However, also for the generalization of other images, blaming the artist for the fact that the naturalistic nudity of the corpse in the foreground is adjacent to the nudity of Freedom.

This duality did not escape both Delacroix’s contemporaries and later connoisseurs and critics. Even 25 years later, when the public had already become accustomed to the naturalism of Gustave Courbet and Jean François Millet, Maxime Ducamp was still raging in front of “Freedom on the Barricades,” forgetting all restraint of expression: “Oh, if Freedom is like that, if this girl with bare feet and bare-chested, running, screaming and waving a gun, then we don’t need her. We have nothing to do with this shameful vixen!”

But, reproaching Delacroix, what could be contrasted with his painting? The revolution of 1830 was also reflected in the work of other artists. After these events, the royal throne was occupied by Louis Philippe, who tried to present his rise to power as almost the only content of the revolution. Many artists who took exactly this approach to the topic rushed along the path of least resistance. For these masters, the revolution, as a spontaneous popular wave, as a grandiose popular impulse, does not seem to exist at all. They seem to be in a hurry to forget about everything that they saw on the streets of Paris in July 1830, and the “three glorious days” appear in their depiction as completely well-intentioned actions of Parisian townspeople, who were only concerned with how to quickly get a new king to replace the exiled one. Such works include Fontaine’s painting “The Guard Proclaiming Louis Philippe King” or O. Berne’s painting “The Duke of Orleans Leaving the Palais Royal”.

But, pointing out the allegorical nature of the main image, some researchers forget to note that the allegorical nature of Freedom does not at all create dissonance with the other figures in the picture, and does not look as foreign and exceptional in the picture as it might seem at first glance. After all, the rest of the acting characters are also allegorical in essence and in their role. In their person, Delacroix seems to bring to the fore those forces that made the revolution: the workers, the intelligentsia and the plebs of Paris. A worker in a blouse and a student (or artist) with a gun are representatives of very specific strata of society. These are, undoubtedly, vivid and reliable images, but Delacroix brings this generalization to symbols. And this allegory, which is clearly felt already in them, reaches its highest development in the figure of Freedom. She is a formidable and beautiful goddess, and at the same time she is a daring Parisian. And nearby, jumping over the stones, screaming with delight and waving pistols (as if directing events) was a nimble, disheveled boy - a little genius of the Parisian barricades, whom Victor Hugo would call Gavroche 25 years later.

The painting “Freedom on the Barricades” ends the romantic period in Delacroix’s work. The artist himself loved this painting very much and made a lot of efforts to ensure that it ended up in the Louvre. However, after the seizure of power by the “bourgeois monarchy,” the exhibition of this painting was prohibited. Only in 1848 was Delacroix able to exhibit his painting one more time, and even for quite a long time, but after the defeat of the revolution it ended up in storage for a long time. The true meaning of this work by Delacroix is ​​determined by its second name, unofficial: many have long been accustomed to seeing in this picture “Marseillaise of French painting.”