The Raft of the Medusa and the Roots of Romanticism

The transition from neoclassicism to romanticism arises from the desire for freedom of thought. Romantic believe truly, believe that the way to freedom is to act through emotions, not logic, and rather emotion rather than cognition. Romantic exercise regards passion and emotion as a true source of aesthetic experience and reaffirms the recognition of anxiety, awe, fear and sublimation. Théodore Géricault, famous for "Medusa", is a famous French painter and one of the most influential pioneers of the Romantic movement.

Huge medusa currently in the Louvre will combine realism and romanticism, bringing contemporary events - the few wrecks of survivors - to the dignity of the memorial art. In order to achieve accuracy, he used a raft model and carefully examined real corpses. Eugène Delacroix objected to one of the characters. The shipwreck was blamed on the government's negligence and corruption. The controversy that arises in conjunction with the credibility of painting has widespread concern for Géricault.

The article I would like to discuss with romanticism is Gericault's "Medusa". This piece was made in Canvas in 1818 and is 16'1 "x 23'6" in size. This huge piece was discovered in the Louvre museum and it was created in Paris. You can definitely see the impact of the Baroque period on this work due to the complex role that accompanies it. The color represents the dark and dark parts as if it is in a storm. This painting is very pathological, so I always thought that it was called the anger of Medusa. Triangular symmetry is used in some parts of paintings. After all, this is a spectacular work, I do not think it is the best representative of that era, because it does not bring out the enjoyment of artists and the body. If anything, this work represents a dark idea that enters our mind (Kissick 308-9)

The greatest legacy of Theodore Gericault as an artist is definitely his Medusa completed in 1819. This picture is the result of combining experiments of various shapes and styles, which will culminate in Gericault's career. Without a monument to a beautiful, terrible, accidental, ubiquitous, specific hero, Medusa's nephew was completely paradoxical at the saloon in 1819. The first critics of this picture were divided by their political and artistic ideology in their evaluation. Some of the critics in the preliminary discourse of this picture hope to draw more openly in social criticism, some believe that they need protection as some people ridicule patriotism Then some people think. Artistically, the masterpiece of Gericault is also considered a mystery. He had not consistently pursued an art school and tried to integrate various unprecedented arts at that time.