The visual material allows us to get significant details from the painting. The figure sitting on the bed with one hand making some gestures in the air and the other extended over a cup can be identified as an important figure. Socrates is centrally positioned, and his figure emphasized with light. Contrary to his mourning friends Socrates conspicuously sits upright and is seen to be instructing or philosophizing his friends and portraying no signs of fear. His suggestive gesture towards heavens can be seen as teaching something related to heavens and gods. His body structure is masculine different from the others whose figures seem droop and their postures slightly slanted towards Socrates who is of their concern. He stands out different because of his central positioning, unique gestures, and his distinct emotional strength and physical appearance. All these qualities from the painting reflect Plato’s explanation that Socrates was courageous, morally upright, intelligent, and of great influence.
Besides, the other figures are less exposed to the viewer as they are either covered in the shadows or turned away from the observer. Each of them showing their grief differently. The man on the left, sitting at the foot of the bed looks depressed and overwhelmed. The other man leaning against the wall seems to be crying. The cup being given to the Socrates appears to contain something harmful yet the story talks of deadly poison “hemlock”. The figure giving out the cup to Socrates appears grievous, guilty and shy to see Socrates by the eyes. Therefore, he and the cup together with Socrates are the key figures in this painting. Also, his central positioning, posture, and his bright clothing that rivals Socrates are evident of his significance in the painting. The other figure on the right in dull orange clothing grasping Socrates' thigh and staring up at him seems to be treasuring him for the last time. The two figures staring at him from behind appear to abide by Socrates request, and they respectfully hide their pain as they pay attention to his final speech. The three on the right are weeping and whirling in an unconcealed demonstration of distress. The one on the staircase leaving seems to be waving goodbye. All in all, this seems to be a scene of grieving for an impending loss of a significant figure. The emptiness of the room and its bare furnishings, the grilled windows, the chains on the ground, and the dull gray walls shows that it is possibly a prison.
Delegate your assignment to our experts and they will do the rest.
Socrates identity can be evident by his central positioning and reception of the cup thought to contain hemlock. Furthermore, Phaedo stated that Socrates was making up a verse with Iyre sitting just next to him. Starting from the left, the figures ascending the staircase are possibly the Socrates’ family as Phaedo states that they were sent away for expressing too much grief. The figure that is waving and the figure wearing white clothing, cannot be differentiated as either male or female and the two could be sons, Socrates’ wife or slave women. The figure seated at the foot of the bed is possibly Plato as he was associated with documentation of events and the presence of scrolls and ink beside him is an evidence. Phaedo also tells us that the guard gave Socrates the hemlock, meaning that the figure in scarlet is possibly the guard. The two figures standing behind Socrates with similar gazes are probably Cebes and Simmias, because of their similarity and closeness to each other. They are often articulated about in duos, and in Phaedo they usually address Socrates together.
The Neoclassical style has been exemplified in this painting which inscribes the historical merits of impassiveness, bravery, masculinity, and patriotism. In Neoclassical, subjects are often well-known historical figures used purposely to communicate a message about current history or modern society. The use of contemporary settings and costumes make the scenes relevant to the current audiences. Neoclassical style often embraces the utilization of Classical architectural instructions, nudity as a symbol of status and bravery. Painting in this style is detailed, well-balanced composition and linear style of brushwork. Figures are painted with balanced features, and the important subjects have stable postures to symbolize their bravery, courage, and their moral uprightness.
The Neoclassical style arose in France in 1780s with David Jacques-Louis being a major proponent of this transformation. During the French Revolution, David and other painters adopted this style by drawing moral subject matters from Roman history and celebrate their contributions and qualities such as simplicity, heroism, and stoic attributes. Hence, drawing parallels between that time and the contemporary fight for liberation in France.
Jacques-Louis David a French by nationality was born in the year 1748, in Paris. He lost his father at a tender age, then afterward abandoned by his mother and was raised by his two uncles. His uncles who were architects wanted him to emulate them, but David had interest in painting. They sent him to their family friend Francois Boucher who was a great painter at the time. Boucher being a Rococo painter, an old type that was being replaced by a more classical type decided to refer David to Joseph-Marie Vien, a painter who had more knowledge in the neoclassical style. By 18 years, with the experience, he had gained he was enrolled at the Royal Academy of Painting and Sculpture. In 1774 he got a scholarship to Prix de Rome after several failures in competitions to win the award. In Rome David studied Italian artworks. His genius paintings have been of significant influence to date.
Relevance of his work in today’s society.
The Oath of the Horatii ( 1784), which shows three young Roman Horatii brothers reaching out for the swords from their father ready to fight for their homeland. The painting shows firmness, unity, sacrifice, and bravery.
The Death of Socrates (1787), In this painting, David showed his support for French Revolution by arousing patriotic values. He portrayed the death of Socrates as a splendid and an honorable act. The scene is set in a bare prison cell, and his muscular body structure of the old philosopher is meant to portray his moral and intellectual prowess. He sits upright and with no fear he is ready to swallow the hemlock. He is ready to die rather than to relinquish his teachings. This painting shows that even in the face of death we must stand firm for what we believe in and never relinquish.
The Lictors Returning to Brutus the Bodies of his Sons (1789), David uses this painting to recap of a story from Roman history, where Brutus had sentenced his two sons to death because of their actions. His patriotism exceeded his love for his family. This painting sends a message of loyalty, sacrifice, and patriotism.
The Death of Marat (1793), following the assassination of a French politician, Marat by Charlotte Corday, David decide to paint a memoir of the event. The wound on his chest is hardly seen, and only signs of bloody bathwater indicate a prior violence. David shows genuine sympathies for Marat and his revolution agenda in politics into a timeless sacrificial victim.
Bonaparte Crossing the St Bernard Pass (1800), The painting shows Napoleon fearlessly conquering despite the hostile terrain, along with two other generals who conquered in the same inhospitable environment, whose names were written on the rocks in the lower left corner. They are written as Hannibal and Charlemagne. The painting shows complete control, self-confidence, and positivity.
In conclusion, the significance of painting has an impact on today’s society. Art is depictive and a conveyor of feelings from one human being to another. Art contributes to society by communicating a message.
References
Warne, C. (2013). Arguing with Socrates: An Introduction to Plato's Shorter Dialogues . A&C Black.
Lippert, S. (2017). INthe EIGHTEENTH Académie-royale CENTURY des F beaux-arts RANCE, when the monarchy fell, so too did and the security of official patron-age from the church and aristocracy, nearly crippling the production of traditional Judeo-Christian and historical subjects. To reform this newly orphaned institution, the government appointed as its new leader the foremost French Neoclassicist, Jacques-Louis David (1748–1825), whose work had come to epitomize Enlightenment and revolutionary ideology, and who had .... Romantic Rapports: New Essays on Romanticism Across the Disciplines , 96.
Bunting, K. M. (2013). The Exploration of Nationalism in the Works of Livy and Jacques-Louis David.
Graybill, L. (2017). The Visual Culture of Violence After the French Revolution . Routledge.
